Now I know, I will never see you again

Between 2023 and 2024, Ana Jikia and Gaia Vincensini lived and worked together for a year in Basel, in an old house that brought together living, working, and exhibition spaces under one roof.From September 5 to October 31, 2026, In extenso is pleased to present a two-person exhibition featuring works by Ana Jikia and Gaia Vincensini, revisiting this experience, particularly in the wake of the building’s demolition.

The project draws on remains of the house, not as an archive or a stable and static object of memory, but as a moving, emerging and ever evolving collection of fragments, traces, and shared experiences.

Like a dream that resists being remembered, the forms produced by Jikia and Vincensini are unstable and faded traces, even the materiality of a memory, speaking both to their experience of living together in this specific home and, more broadly, to artistic practice as an ecology of relationships—between people, objects, economies, texts, and affects.

Ana Jikia is an audio-visual artist from Tbilisi, Georgia, currently based in Basel. Her practice spans drawing, paper-based installation, sound, music, and text, and explores states of dissolved identity and in-betweenness—between existence and disappearance, certainty and collapse. Shaped by experiences of poverty, war, and systemic exclusion, as well as the insight, resilience and singularity that emerge in moments of hardship, her work approaches conditions of lack as both external realities and internal states that influence and elevate perception and ways of making. Jikia often works with drafts, fragments, and traces, prioritizing incompletion and error as meaningful aesthetic and conceptual positions. Through collecting, sorting, collaging, and reduction, she develops open-ended structures that resist closure and function as part of an ongoing, self-revising artistic system.

Gaia Vincensini’s work explores systems of value, protection, circulation, and opacity through printmaking and sculpture using inherited craft techniques. Her work reflects on how stability is staged and protected, and how value is constructed through symbolic and material mechanisms.