ABOUT THE FOUNDER AND THE TEAM

From the outset of her career as an artist and musician, Ali has rebelled against convention, juxtaposing editorial, personal narrative and vanguardism.

Her artwork includes creating and hosting large scale experiential installations, Vanguard Parties,  Earth Art Ceremonies and Environments as well as traditional gallery shows - all intending to create evocative experiences for the modern art community to have access to celebration, party as ceremony, ancient emotions, latent instincts and 360 degree sensual experiences.

Her paintings and sculpture have been featured in Architectural Digest, Vogue, Ignant, My Domaine, The Zoe Report, Vogue Paris, Elle, Goop, Iron & Air, Tiny Atlas, Best Magazine, Paper Sea (Australia), Anyone Girl (New Zealand), My Chameleon (France), La Mignonette (France), Velvet Dust, Hullabaloo, LVL3 and Range Magazine as well as the cover feature of La Motocyclette (New York) debuting over at MOCA Los Angeles.  She was included in Domaine Home's and rapidly emerging artists to watch next to Alex Israel and James Franco.  

She has hung works next to Le Corbusier, Picasso, Shepard Fairey, Alexander Calder, Barbara Kreuger, Alma Allen, Rick Owens, Pia Camil, Isamu Noguchi and featured in the Vogue and fashion director Eva Chen’s collection, as well as among the collections of sophisticated collectors around the globe Ali’s work Soapstone Fire Bowl was recently featured in his LA Frieze week exhibition “Vessels” curated by Alexander May, celebrated by fair director Christine Messineo, as well as in Cultured Mag, Wallpaper and Interior Design Mag as shows not to miss during LA’s Frieze art week.

She has been featured by guest curators including Alexander May, Ariel Orkin, Olivia Kim, Maya Erskine, The Brownstone Boys, Jenny Kayne, Gillian Segal, Cara Woodhouse, Alyssa Coscarelli, Serena Goh, Kristine Paige, Kara Smith, Hilary Matt. Her works have been among the iconic over at the Surfrider Hotel, the Rosewood and at new art-wise posh hotel Hotel Laguna, the Soho House, JTHAR, Boxo Projects, Human Gallery New York, The Painting Center (New York), as well as a part of the collections at Casa Shelter Half.

She produces music, as well as sculpture, environmental works and paintings in conversation with both the music world and the art world as a representation for us to experience, dialogue and celebrate our shared, pluralist and global lineages of humanity.  Utilizing the canvas and context of the music world to create an atmosphere and spirit where we can broadly dialogue between a more modern “self-aware” and informed version of ourselves, and a deeper more latent archaic sense of humanity that is intertwined with the natural world.  She recalls, what Charles Olsen dubbed the “Archaic Post-Modern”.  Naturally, this leads her to mixed use of materials, pitching primitive percussion against 808’s, self made tape loops against catchy melodic sensibilities, juxtaposing clays with spraypaints, soapstone and fire with brass, or building and lighting highly articulated post-Judd boxes installed into the center of the desert as a rain catchment for a conversation with the broad scope of the natural world and then throwing a party around them with drummers hidden throughout the desert as a ceremonial party celebrating that very moment.  Her practice leaves nothing sacred to be unexplored and throws lineages of art and music and modern mash up in juxtaposition, reflecting her pluralist philosophy: ancient, pop, abstract expressionism, current cultural movements, and even throwing parties to be thrown in conversation with one another, just as vast and broad as we are today.   

She released her debut record, Legends of These Lands Left to Live, which New York Magazine’s the Cut noted “has been uncommonly well-received by critics, at least one of whom compared her to James Dean (among a host of living rock legends)."  NPR compared her music to Patti Smith and Cat Power, while Vice compared her music to early Dylan.  The Guardian  included her in their artists to watch in 2016 and New York Magazine’s the cut called her ‘the real deal’.  It was also celebrated by writers from Stereogum, The Revue, LA Weekly, Impose and Consequence of Sound.

Gearing up for an exciting 2022, Ali is launching several new painting series with her LA Gallery Tappan, planning a solo exhibition with the Gallery En Blanco in the Baja, releasing her new musical project Alivenique including collaborations with the dance pop duo Crush Club, the English (by way of Mexico City and Paris) DJ and producer El Búho, new Peruvian electronic artist QOQEQA.  She is also currently working on a new branded side featuring her studio as a place to both shop modern objects and participate in new global ventures.

With the latest development of her Alivenique project, she turns her eyes towards a more extroverted, tropical, story, in step with global currents.

Alivenique is the new conceptual  brainchild of the musical and visual artist Ali Beletic.   Self-described  as a “meta-pop-art musical project”, it delves into her unique take on artistic vanguardism, hyper mixing a vast sonic and visual sensual assualt, digging into cinematic narratives alongside post-genre feminine meme-able moments, yet deeply underneath translating a pluralist sincerist invitation.

Ali is a member of BMI and SAG/AFTRA and studied film and physics at NYU and trained as a classical vocalist in both New York, and Los Angeles.  She has also studied as a vocalist, guitarist, and as a vocal producer at Berklee.  She mentored under the prestigious production designer, Rob Pearson.  

She is the co-founder of Lightning—a print/online platform that explores various subcultures of rocknroll, art, surfing, motorcycles and other related creative and spirited scenes.  She is passionately creating a like-minded community of explorers, creatives, and freeriders inspired by her adventure driven lifestyle and her studies with master trackers Tom Brown Jr., and Jon Young.