Ala Savashevich works across sculpture, installation, video, and performance. Her artistic practice addresses issues of social pressure, control mechanisms, and systems of oppression. In particular, she explores collective memory, trauma, and identity formation within societies shaped by authoritarianism and patriarchy. Savashevich is interested in the mechanisms of socialization into prescribed female roles within family structures, education, and gendered divisions of labour. By engaging with histories of exploitation and violence, she also visualizes possibilities for reclaiming agency, solidarity, and freedom. Her works often draw on the atavistic power of the image, confronting the symbolic and material legacy of the post-Soviet condition.

Savashevich graduated from the Belarusian State Academy of Arts in Minsk and the Wrocław Academy of Fine Arts. She is the recipient of the ING Polish Art Foundation Award (2021) and was a finalist for Paszport Polityki (Polityka’s Passport) 2025, a prestigious annual Polish cultural award established in 1993. Recent exhibitions include Homelands and Hinterlands, MHKA, Museum of Contemporary Art (Antwerp), OnView: Dance, PalaisPopulaire (Berlin), Soft Smiths. Contemporary women’s metalwork, Centre of Polish Sculpture (Orońsko), Hospitalities, NOMUS, New Art Museum (Gdańsk), Revealing What Is Partly Sensed, Bunkier Sztuki Gallery (Kraków). Her works have also been shown at Kunsthaus Graz (Graz), Kode Art Museum (Bergen), Manifesta 14 Biennale (Prishtina), GFZK (Leipzig), Sentiment (Zurich), Zachęta National Gallery of Art (Warsaw), Cricoteka (Kraków), Arsenal Gallery (Białystok), the Central Museum of Textiles (Łódź), OP ENHEIM, Krupa Art Foundation, and 66P Subjective Institution of Culture (Wrocław), as well as West Den Haag (The Hague) within Pickle Bar by Slavs and Tatars. In the Moon She Stood, Listening to the Wind (Centre of Polish Sculpture in Orońsko).