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BIOGRAPHY
Was born to a Nubian family in Cairo in 1957. His father Hassan was Sudanese, his mother Fatma originally from Toshka (Kom Ombo – Upper Egypt ).The matriarchal traditions of this area surely contributed to Fathi's developing artistic mentality. The terrible flooding of the Nile in Upper Egypt entirely changed his family's life, as with many others, and much of what was salvaged was largely thanks to the massive intervention by UNESCO. Cairo then became the home of the family and grandparents : from well-off landowners to simple city workers. The famous sculptor Ghaleb Khater was his teacher at Cairo 's Kerabia Middle School , and it was he who first discovered his pupil's talent. Again, in the heart of the capital, a famous Egyptian library “ Madbuli ” in Via Soliman Bashià, became the place where the young artist starts reading in depth, and in particular reads about Italian Renaissance Art. A grant in 1979 allowed him to enter the Art School in Naples , Italy , where he studied Set Design under Professor Ottaviano. Here, at a particularly fruitful time for the Arts, Hassan met many important figures, among whom Lucio Amelio, Filiberto Menna, Enrico Crispolti, Gabriele Perretta, Mario Martone (with whom he played a modern “romantic” Othello together with the Naples “ Falso Movimento ” theatre group.) He graduated in 1984. Due to an article, he was invited to Pesaro , in the Marches region of Italy , by the magazine Frigidaire . Here he had the opportunity to exhibit at the Deposito Figure Gallery, and the artist decided to move to the area. In 1988 he was the first African artist present at the “ Open 88 ” section of the Venice Modern Art Biennial. Fathi Hassan's work belongs to an “image – writing” dimension: Nubian oral speech intertwined with Arabic calligraphy is preserved and sent down through generations in his “Containers of Memory”. The desert, the colour white and silence all become echoes of his predecessors and their spirituality. Thus, we find works such as Containers of Memory, Dreams, Light, Angel , Safir and Africa. There are also entire series of works dedicated to the figures of saints, black warriors, Madonnas, leaves, and holy Maps of the World.The Smithsonian's National Museum of African Art in Washington D.C. invited him to prepare a site specific installation for the museum in January 2002, thanks to the intervention of Mary Angela Schroth of Rome's Sala Uno Gallery. In 2006 the artist exhibited at the October Gallery, London, in the exhibition Text Messages . Mary Angela also signals the artist to Senegal's 2008 Dakar Biennial, in which he takes part.December 2008 finds the artist at the Museo Nazionale Villa Pisani (Stra, Venice) in an exhibition that pays homage to the various stages of his artistic career.
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EXHIBITION
| 1983 |
“Alflela” (One Thousand Nights), Studio Ricerca Aperta, Naples, organised by Gianni Rollin. “Temperatura Flegrea”, (Pittura d’Ascolto), Terme di Baia, (Naples), organised by the artists. |
| 1984 |
“City with no boundaries”, Pomigliano d’Arco, Napoli, organised by G. Perretta, texts by F. Menna, G.Bartolucci, L. Mango, R. Bonfiglioli, G. Dipietrantonio, M. D’Ambrosio, N. Manferlotti, G. Di Martino. “City with no boundaries”, Pomigliano d’Arco, Napoli, organised by G. Perretta, texts by F. Menna, G.Bartolucci, L. Mango, R. Bonfiglioli, G. Dipietrantonio, M. D’Ambrosio, N. Manferlotti, G. Di Martino. |
| 1985 |
“A New Generation in Italian Art”, Fortezza Medicea, Siena, organised by E. Crispolti |
| 1986 |
“New Tendencies in Italy”, Centro Grisanti/Milano, Perterre/Firenze, organised by Eduardo di Mauro. “Nubia”, Deposito Figure, Pesaro “The Emotion of Daily Life”, Expo-Art, Bari and d’Arecchi Castle, Salerno, organised by Massimo Bignardi |
| 1987 |
“Sahara”, Neon Gallery, Bologna, organised by G. Gianuizzi, V. Medica. · “Emergenze”, Neon Gallery, Bologna, organised by G.Gianuizzi /td> |
| 1988 |
“The Nomad’s Memory”, Egyptian Academy, Rome “Aperto ‘88”, XXIII Biennial of Modern Art, Venice, on invitation of D. Cameron, G. Caradente, S. Bos, F. Bos, F. Nanjio, D. Ronte “Circumnavigation around Africa”, Maschio Angioino, Naples, organised by T. Hassan, G. Vallifuoco, text by Arcangelo Izzo. “No Wall In Berlin”, Ufa Fabrik, Berlin with Neon Gallery, Bologna). “Capua – South East Direction”, Campano Museum, Capua (CE), organised by M. Bignardi, participation: L. Burchardt, S. Carpentieri, E. Crispolti, A.P. Fiorillo, G.G. Lemaire. “Indiscrete Confrontation”, Egyptian Academy, Rome, organised by E. Crispolti. |
| 1989 |
“Transit”, F. Rosini Gallery, Riccione (FO), text by A.P. Fiorillo. “The Village”, La Parte du Sable Gallery, C. Roussillon, Cairo, (Egypt), organised by S. Chamass. “The Artist who doesn’t exist”, Palazzo Valentini, Rome, organised by M.S. Suarez “The Flexibility of Space”, Habitat Gallery, S. Severo, (FG), organised by M. Bignardi. “Seduction of the Real”, Palazzo Comunale, City of Treia (MC), organised by M. Bignardi, L. Del Gobbo, A.P. Fiorillo. “Salone dell’arte giovane”, Ministery of Culture Award, Egypt. |
| 1990 |
“If I gave you my soul ten times over it wouldn’t be enough”, Multimedia Gallery, Brescia, organised by Romana Loda. “Meeting of Peoples”, Villa Lazzarini, Rome, organised by R. Ruscio. “XXXIII Young Egyptian Artists, Egyptian Academy , Rome. “Artefax”, G. Marconi Award, Modern Art Gallery, Bologna, organised by C. Cerritelli. “Theme and Variation”, Falconiere Gallery, Ancona, organised by A. Vico. |
| 1991 |
“Signs of Absence”, Prisma Gallery, Verona, organised by L. Meneghelli “Al Rawi”, Una Arte Gallery, Fano (PU), organised by E. Perretta. “Contemporary Egyptian Artists”, Egyptian Academy, Rome. “Mediterranean Imaginary”, Siracusa Art School, Siracusa, organised by C. Strano “Akhnaton”, Seven contemporary Egyptian Artists, Palazzo dei Diamanti, Ferrara “Arte ’91 Padova”, Quadrum Gallery, (Imola, BO), organised by G. Cremonini. |
| 1992 |
“Painting for Words”, L’Idioma Art Centre, Ascoli Piceno, text by V. Coen “Africa dry your tears”, Tana Libera Tutti, Cagli (PU) “Mare Nostrum”, Catania Art School, Catania, organised by C.Strano. “Ter-Dislocations of Art”, Civic Gallery of Contemporary Art, Termoli (CB), organised by A.B. Oliva. “P.S. 20 (40x50), la Pergola Gallery, Pesaro |
| 1993 |
“Submerged Origins”, Contemporanea Gallery, Civitanova Marche. “Mare Nostrum III”, Immart Gallery, Rome, organised by R.Pontremoli. “Dioce Calligrafie”, S. Filippo Neri Monument, Torino, organised by E. Gentili. “Presences”, Rocca di Umbertide, Perugia. “Art Is Life”, Furniture Salon, Torino. “Noah’s Ark”, Trevi Flash Art Museum. "Candid, is painting”, Astuni Gallery, Fano, organised by F. Gualdoni. “Art with a View”, Palazzo Dragoni, Spoleto. “Memory Paths”, Montedinove, (Ascoli), organised by L. Monaldi, I. Monti. |
| 1994 |
“Traces of Africa”, Free Art, Torino, organised by Alina Botturi. “I’m not Marcel Duchamp, I’m Tutanchamon”, Una Arte Gallery, Fano. “Meeting in Genova”, Ellequadro Gallery, Genoa. “Portait Self-portrait”, Trevi Flash Art Museum. “In Trance”, Annina Nosei Gallery, Rome. “The Way of Painting”, Municipality of Sirolo (MI). “Sacred and Profane”, Annina Nosei Gallery, Rome. “Trevi ex Vero”, Monti Gallery, Rome, Concept, Francesca Monti. “Saharian Conflict”, Mashrabia Gallery, Cairo. “Dream a Dream”, Roma Arte, organised by P. Balmas, idea G. Manigrasso. |
| 1995 |
“Containers of Memory”, Ronchini Contemporary Art, Terni. “Containers of Memory”, Palazzo Chigi, Viterbo. “Containers of Dreams”, Annina Nosei Gallery, New York. “Containers of Dreams”, Annina Nosei Studio, Rome. “My Africa”, Per Mari e Monti Gallery, Macerata. “Hunting Reserve”, The Cat and the Fox Monti Gallery, Rome. “Things from the Other World”, Trevi Flash Art Musem, text by L. Cherubini “Fiumara d’Arte”, Tusa (PA), organised by A. Presti. “Calligraphy”, Palazzo Fazio, Capua (CE)/Spaziotempo, (FI)/Livingart, (MI),texts by F. Guardoni, N.Leone. “Fvror Popoli”, Forvm Popoli, Monti Romae, text by L. Wertmuller. |
| 1996 |
“Container of Desire”, Art Naw, Capua (CE) “Santa Africa”, Mashrabia Gallery,Cairo/ V.S.V. Torino. “Africana”, Contemporary African Art, Sala Uno, Rome, organised by M.A. Schrott,texts by Olu Oguibe, G. Baiocchi. “Black and White”, l’Idioma Gallery, Ascoli Piceno, organised by A.Piccioni,texts by L.Monaldi, I. Monti. “After Ripe”, notes on Art in Le Marche at the end of the 80’s, Dedalos, S.Severo.organised by M. Bignardi. “Symbolic”, Fiera Pordenone. “Male and Female”, Il Manifesto, Rome, organised by A. Di Genova, E. Scotti,texts by A. Anedda. “Counterprofile in Red” Rispoli Gallery, Rome, organised by F.Pietracci, G. Cerioni.“Residence of the Gods”, Villa Anselmi, Verona; Ponte Pietra Gallery, Verona; Castel Ganda, Appiano (BZ), organised by L. Meneghelli. “Rose and Serpent”, A. Signetti Gallery, Torino. “Animum Reflectens”, Paola Verrengia Gallery, Salerno, organised by A. Arevalo. |
| 1997 |
“Containers of the Soul”, Ass. Mediterranea, Molfetta (BA), organised by G.Grillo, L.Befani. “I Kadiseen”, Il Fiorile Gallery, Bologna, organised by L.Meneghelli. “Tribute to Fathi Hassan”, Rocca Malatestiana, municipality of Fano. “Under Different Skies”, Vanlose, Denmark. “Go, thought”, Italian Art 1984-1986, Civic Museum, Promotor of Fine Arts, Torino. organised by E. Di Mauro, coll. I. Mulatero. “Trittico”, Oprandi Gallery, Bergamo. “Artinceramica”, Vietri sul Mare, (Salerno)/ Palazzo Reale, Naples, organised by M. Bignardi. “Container of Being”, Seno Gallery, (MI), organised by L. D’Ambrogi. |
| 1998 |
“Containers of Thought”, Seno Gallery, Milan, organised by L. D’Ambrogi. “3 – Dime”, Bologna. “Il Campo delle Fragole”, Il Fiorile “Sesto Senso”,organised by A. De Paz, F. Naldi. “Simbolica - In the Future of Painting”, Doks Dora, Torino. “Lady D”, Trevi Flash Art Museum. “Mediterranea”, Brussels, Belgium, organised by S. Gorreri, coll. G. Massoni, M.Baudson. Participation in International shows with the Oprandi Gallery, Bergamo, in Hong Kong, Beirut, Brussels, Paris, Granada. |
| 1999 |
“ Contemporary African Art”, Italian Institute for Africa and the Orient, Rome. “Trittico”, Biblo Gallery, Treviso, organised by E. Di Mauro. “Beata Africa”, Rosini Gallery, Riccione. “Beata Africa”, Oprandi Gallery, Bergamo. “Beata Africa”, Una Arte Gallery, Fano. Skoto Gallery, New York. (Contemporary African Art). Rinvenuti e Riveriti, Ass. Arte Incontro, Ancona. “As Long As There’s Death, There’s Hope”, Trevi Flash Art Museum. “Out of the Blue”, Mashrabia Gallery, Cairo. “My Sister, the Palm”, Mashrabia Gallery, Cairo, Egypt. “Mimamsa Nubiana”, Gasparelli Gallery, Fano, text by G.R. Manzoni. |
| 2000 |
“Transafricana”, Ex-church of S. Giorgio in Poggiale, Bologna,organised by M.A. Schrott, texts by R.Barilli, G. Baiocchi. “Container of Dreams”, Centre for Visual Arts “Pescheria”, comune di Pesaro. “Postcard for Naples”, Palazzo Reale, Naples. “Sacrosanct”, Municipal Gallery of Modern Art, Rome, organised by A. Pisilli. “Etna, Geography of the Incredible” Mazzullo Foundation, Palermo, oraganised by P. Assmann, I. Medici. |
| 2001 |
“Alleviating Unstoppable Impulses”, University of Pavia, organised by M. Cavallarin, Mazzotta editions. “Gold Imagination”, Vanvitellian Pier, Ancona, text by E. Crispolti. “Capriccio”, Comune di Valgatara, Verona, organised by L.Meneghelli. “Fathi e Misfatti”, Monti Gallery, Rome. “El Mersal”, Pack Gallery, Milan, organised by L. D’Ambrogi, P. Abbondio, A. Enginoli. “Between Sky and Earth” Monti Gallery, Rome, text by A. Capasso. “Extra-Virgin”, Trevi Flash Art Museum, organised by L. Scacco. |
| 2002 |
“A Postmodern Babel”, Palazzo Pegorini, Parma, Italian Art of the 1990s, organised by E. Di Mauro. “Spirit Matter”, Art-Pro-Art, Lahr, Germany/ Benciv Art Gallery, Pesaro/ Galleria Oprandi, Bergamo/Galleria Rosini, Riccione. “Desertwind”, Palazzo degli Esposizioni Roof Garden, Rome. “Africamarvel”, Municipality of Rastatt, Germany, organised by U. Schmitt. “Transits”, Palazzo Albani, Municipality of Urbino, organised by B. Cecci. “Thedeepestnightshidenoevil”, Spirale Arte, Pietrasanta, Florence. “Donotfearindulgence”, Spirale Arte, Verona, “Artists On A Boat”, Pio Monte Gallery, Rome. “Itwasdarkthenashe whisperedhistaletohertwodovestookflightandtheywerenotwhite”, Galleria dell’Immagine, Municipal Museums, Rimini, organised by G. Papi. “Africa and that’s not all”, Sala Uno, Rome, organised by M.A. Schrott. “Start-up”, Municipality of Cologne, Brescia, organised by M.A. Schrott. “For 5”, Benciv Art Gallery, Pesaro. “My mind is at walk through a forest”, ASL 1, Pesaro, organised by M. Bargnesi. “Welcome 02”, Palazzo Sora, Palazzo Esposizioni, Rome |
| 2003 |
“Imagining the Book”, The Library of Alexandria, Egypt. “Illustrations pour Enfants”, Institut du Monde Arabe, Paris, organised by Illabad. « Nile Sand », Archaeological Museum and Temple of Fortune Primigenia, Municipality of Palestrina, Rome. “Theacrobaticsofinnocence”, Excalibur Gallery, Arona, Stresa “The Art Yard”, Municipality of Villaricca, Naples, organised by T. Ferrillo. “Folkloreafrica”, Municipality of Altomonte (Cosenza), organised by A. Zaru. “Fuoriluogo 8 Afritalia”, Church of San Bartolomeo/Limiti Gallery, (CB). “Places of Affection”, Brussels, organised by A. Capasso. “Africa Screams”, Bayreuth, Germany, organised by Ulf Vierke. “9th Cairo International Biennale”, Cairo, Egypt. "The Sea", Molfetta, Bari, organised by Luciana Cataldo. "In Words" Sassari, organised by G. Demuro "Fathi Hassan", Spazio Symphonia, Milan, organised by M. Cavallarin. "Man'sreactiontokissingthemoon", Gallery Grant, Cairo, Egypt |
| 2004 |
"Containers of Light", Graphique Art Gallery, Bologna. "Descent of the Gods", Fusion Art Gallery, Turin, organised by Eduardo di Mauro. "United Africa", Andrea Gallery, Vicenza, organised by Paolo Doso. "The Substance of the Soul", Benciv Art Gallery, Pesaro. "Mansur'shouse", Michetti Museum, Francavilla (Pescara), organised by Mary Angela Schroth. "Angel", Egyptian Academy, Rome, organised by S. Gharib. "The Madonna in Contemporary Art", Loggiato San Bartolomeo, Palermo, organised by Mon. R. Giuliani and L. Zichichi. "Palermo, The Sicily of the Arabs", Loggiato San Bartolomeo, organised by L. Zichichi and N. Zicuri. |
| 2005 |
Bologna, 27-31 January, Benciv Art Exhibition-Art Gallery, looking into the unknown. Exhibitions: Container, 2005, mixed media on canvas, 90x80 cm, Angelo, 2005, mixed media on canvas, 57x48 cm, Heaven & Earth, 2005, mixed media on canvas, 150x130 cm, light container, 2005, mixed media on canvas , 70x70 cm; gaze to the Unknown, 1985, photo, 200x138 cm, The Witness, 1993, photo, 200x138 cm; Washington, DC (USA), February 11 to September 4, Smithsonian National Museum of African Art, Textures: Word and Symbol in Contemporary African ArtExhibitions: installing, 2005, tempera on wall 500x200 cm; Glance Toward the Unknown, 1985, photo, 100x70 cm, The Light Man's Historical Footstep, 1985, photo, 100x70 cm.Among the artists: G. Amer, B. Bickle, W. Boshoff, R. Koraichi and B. Searle.The exhibition is curated by Elizabeth Harney. Rivara (TO), May, Castle, Blog on Arthur Rimbaud Exhibitions: Angelo, 2004, mixed media on canvas, 40x50 cm; Issa, 2004, mixed media on canvas, 40x50 cm.Among the other artists: F. Battaglia, A. COLOMBU, C. Laborious V. Mangoes, P. Mattioli, A. Nankervis, A. Nardi, P. Pezzi, A. Sassu, Studio Azzurro, S. Tagliaferro, V. Vangelis.By Claudio Rocchi. Ancona, May 13-June 26, Atelier 's Arco Amoroso, Foreign Artists in the Marche. Exhibitions: Stay of the Nomad, 1989, mixed media on canvas, 100x100 cm; container of dreams, 2001, desert sand on canvas, 100x100 cm. Among the other artists are works by Cornell, N. R. Hankins, Julian Pacheco, Li Zhi Quan. The exhibition is curated by Armando Ginesi. Copenhagen (Denmark), June 2 to July 8, Italian Institute of Culture, Novarum - Projects 'Inside Italians' No.3. Exhibitions: The Acrobat, 2002, mixed media on canvas, 120x100 cm, The Soul of the Warrior, 2002, mixed media on canvas, 120x100 cm. Among the other artists C. Calvanese, M. Corti, T. Giobbi, E. Jannin, J. D. Molinari, plum, G. Rosso, V. Valente and R. Zizzo. The exhibition is curated by Eduardo Di Mauro. Seregno (MI), April 16 to May 10, Galleria Sergio & Thao Mandelli, The Metamorphosis of the Spirit.Exhibitions: A container of light, 2004, mixed media on canvas, 100x100 cm, light container, 2003, mixed media on canvas, 30x40 cm, light container, 2003, mixed media on canvas, 50x40 cm, light container, 2004, Technical Mixed media on canvas, 48x57 cm; containers of light, 2004, mixed media on canvas, 70x70 cm; containers of light, 2004, mixed media on canvas, 140x120 cm; sacred leaf, 2004, mixed media on canvas, 120x110 cm; container Light, 2005, mixed media on canvas, 140x120 cm, light container, 2005, mixed media on canvas, 100x100 cm; Safir, 2005, mixed media on canvas, 50x40 cm; Safir, 2005, mixed media on canvas, 70x70 cm; Sacred Leaf, 2005, mixed media on canvas, 110x120 cm. Fano, October 1 to November 10, Galleria Novato, Fathi Hassan, sand creatures. Exhibitions, as illustrations in the catalog: Recall, 2005, mixed media on canvas, 92x88 cm; Carneval Africa, 2004, mixed media on canvas, 68x70 cm; Carneval Africa, 2004, mixed media on canvas, 68x70 cm; Butterfly Sadistic Sacred 2004, mixed media on canvas, 90x80 cm; Africa, 2005, mixed media on canvas, 40x30 cm; Safir, 2005, mixed media on canvas, 50x40 cm, The Silence of Terhaq, 2004, mixed media on canvas, 40x50 cm, Angelo , 2004, mixed media on canvas, 80x80 cm; Mandil, 2004, mixed media on canvas, 80x80 cm; Mandil in Paradise, 2004, mixed media on canvas, 50x40 cm, Angelo, 2004, mixed media on canvas, 50x40 cm, The bearer of Memory, 2001, performance; container of the Warrior, 2002, mixed media on canvas, 220x192 cm; Container Celestial, 2004, mixed media on canvas, 57x47 cm; Container of Light, 2005, mixed media on canvas, 100x80 cm; Container Light, 2003, mixed media on canvas, 100x100 cm; Sacred Enclosure, 2004, mixed media on canvas, 100x100 cm, A Sacred Elephant Detail, 2005, mixed media on canvas, 110x130 cm; Folcolorafrica, 2004, mixed media on canvas, 50x40 cm; Kandil Om Hash, 2004, mixed media on canvas, 110x130 cm; Sacred Leaf, 2005, mixed media on canvas, 80x80 cm; Soul in Progress, 2005, mixed media on canvas, 130x77 cm, Container of Light, 2004, mixed media on canvas, 130x110 cm, The Map of Love, 2004, mixed media on canvas, 120x140 cm, Santa Elham, 2005, mixed media on canvas, 57x47 cm, Santa Maha, 2005, mixed media on canvas, 57x47 cm; Holy Face, 2004, mixed media on canvas, 50x40 cm, Sacred Warrior, 2002, mixed media on canvas, 100x100 cm, S. Massaud, 2001, mixed media on canvas, 39x29 cm, Santa Murbak, 2001, mixed media on canvas, 40x30 cm, Madonna and Child, 2005, mixed media on paper, 39x29 cm; ISSA SDLP, 2004, mixed media on canvas, cm 40x30, Santa Tawinda, 2004, mixed media on canvas, 60x50 cm, Santa Murbak, 2004, mixed media on canvas, 60x50 cm. The curator, Maurice Sciaccaluga catalog writes: "Fathi Hassan is not content to tell the Africa, not merely to illustrate the customs and forms of his homeland. The desire to reshape and palpate the desert sands, the desire to categorize people and animals of the Sahara, the frenzy to cut dry and sunny landscapes to a sign or a symbol, an icon, they reveal how the artist circles instead, always, to understand, summarize, interpret the fascinating and pulsating heart of the continent. They understand how, rather than the author's intention is to go deeply into the character of the place to dive into those realities, and those views that, to others, affecting only the characteristic appearance and typical. Hassan does not draw the Africa: the lives, try to shape it from scratch, the scans, would capture it and close it forever and compressed in the narrow confines of a painting, a sculpture. The artist's research is based, often, obsession and repetition. A theme, a form - for example the vase, or the palm, or a thin horizon Saharan - may be the subject of lengthy investigations, which center on large series of works. The lines, shots, the strokes, the strokes are repeated up to a piece to another and are just the minor variations, the differences more or less subtle, to make sense of the work, to give life to a story that only silences and moments of pause. The skins that are followed almost identical to the canvas - painted in the same way, all strictly two-color, marked by the same dust, similarly incorporated into a vision ravvicinatissima - are the best way to talk about the desert of that great sea of sand where every landscape is equal to another, each presence is equal to another, and only the well trained eye can distinguish and navigate. The decorations are inlaid with fine sand, and threaten to disperse the first puff. Who recognizes the pathways moved by the wind and the dunes called each with a different name can be seen in vases endings endless variations and possibilities of nature, magic creations of sand always the same and always damn different, and who loves and fears of the Sahara the lack of obvious references, the obsessive repetition of horizons indistinguishable and approved in the same vessels will keep the threat of a kind stepmother, the continuous shrinking of a world that has no intention of being captured and encoded. In the same manner as that of large jars, even the cycle dedicated to the animals - drawings on paper matte, dull and incredibly absorbent - tells of the great heart of Africa, its apparent contradictions between emptiness and fullness, life and death , everything and nothing. Ghosts in a composition materializzatisi suddenly dry, leopards, elephants, monkeys and other wild beasts painted by Hassan reveal the deep solitude of the continent, its always and always alone and far away, so adored and abandoned to their fate. I've never hunting scenes, lack the flocks and group life, are not living in the relationships between pieces of the author Nubian: to dominate the construction is, in fact, the loneliness, the relationship that there, in those places baked by the sun and drought, every individual must have only and only with himself. The artist looks at the past, it follows, while reminding her deliberately in the style, the seasons of Egyptian and Roman, populating the same places, had already addressed the representation of the natural world. Fails to comply with the wonder of those who see something wonderful and wants to possess it, dominate it: rather, captures the drama of that majestic presence more intimate, the threat that could, at any time, undermine, delete it. Fathi Hassan works on abduction follows a fourteenth-century alchemical old saying which states tere tere tere nec tedeat terere. In practice, take away until there is nothing to be upbeat, simplifies and reduces the extent to which you did not get to the heart, the essence. His work has, in fact, essentially talking about tribal decorations without falling into the decoration, show the customs of a people without even touching the reportage. Are filled to capacity, reflections and considerations, but are empty signs, rarefied, gently slumbering. Everything is always built on the contrast between a strong presence and nothingness that surrounds it, a scene between a protagonist and just suggested, only hinted at. The faces of the figures have no views of contour, the animals move in a savanna invisible, vases and palm trees are drawn from two (no more) supporting lines. Must empty the banality of Africa which the West has filled, the cliches, phrases and forms granted. The artist wipes compositions, makes cold and stiff a story always hot and insistent, he stops to observe the details that usually get lost in the pile. The cyclic work on vases, on the palms, on the figures, wants to prove that it is necessary to slow down the vision, focus on particular content with little eschewing too. It's the little things that are the foundations and the historical sense of a people, and you need to focus attention on them. Considering the current success of figuration medial - often inspired by film, television spots, video, all'incalzante meaningless succession of images together - it perceives as the search of Hassan is an original and far from the prevailing fashion, Finally it may be hard to understand but unique in his desire to fly elsewhere, away from the beaten track and have already explored. While many Western chasing the dream, the illusion of light and of the performances, tricks of the booths and sequins, the artist - as an eccentric painter, sculptor, photographer and even performers - focuses on different shores, on those worlds crushed by logical capitalist and only today to retain even a semblance of humanity, of life lived and acted. Often monochromatic, sometimes played on anything but strong contrasts, often designed by lumps of sand and matter, the work of Hassan can not only be observed. In fact, really need to taste, touch, the odd texture. You must tap to understand how subtle, in every sense: they have soft lines and flattering but, together, a scratchy and hard body, reminiscent of Berber jewelry. In practice, objects to look sweet but aggressive in the sense of belonging, pride of the race. " San Felice sul Panaro (MO), October 9 to November 6, Rocca Estense, XXIX edition Art Biennale Aldo Roncaglia.Exhibitions: Holy Warrior, 2002, mixed media on canvas, cm. 100 x 100; Container Sacred, 2004, mixed media on canvas, cm. 100x100. Among the artists: E. Baj, M. Baricco, D. Montanari, N. Nannini, C. Palladino, M. Shafik, J. Tilson, S. Tonelli. The Scientific Committee is composed by Giorgio Di Genova, Nicholas and Michael Miceli Fire. January. Travels to Washington DC for the exhibition Textures: Word and Symbol in Contemporary African Art at the Smithsonian National Museum of African Art Genoa, 23 December, White Exhibitions: A container of memory, 2005, mixed media on canvas, cm 100x100. Together with M. Barbiero, F. Bellati, S. Boddeke, A. Coers, G. Costa, E. T. De Paris, P. Greenaway, B. Huemmer, W. Jugacho, K. Leitner, A. Nassiri Tabibzadeh, M. Palazzi, W. Peter O. Scharfbier, G. Stangelmayer. Project by the Association artistically. |
| 2006 |
Milan, January 19-February 10, Miniaci Art Gallery, freely. Exhibitions: Container sacred, 2005, mixed media on canvas, 110x130 cm, container storage, 2005, mixed media on canvas, 150x130 cm. Among the artists Arsace, F. Bordin, E. Fiore, O. Izumi, R. Maggi, Makoto, R. Penna, A. Tomato C. Sassi and D. Weisz. Florence, January 18-March 30, Opera 3, Sound's Art Exhibitions: Sound Africa, 1990, oil and sand on canvas, 112x232 cm. Participates with D. Bruni, S. Bussotti, S. Di Stasio, P. Gandolfi, D. Lombardi, M. Kostabi, J. Kounellis, F. Levin, G & Lusikova, M. Vetter, Video Art for Section V. Acconci, A. Boetti, F. Gillette, L. Levine and C. Palestine. Section Video Art is curated by Maria Gloria Conti Bicocca. The catalog is edited by Matthew Brizzi and Marina Silva "In the maze of writings are distinguished like some recognizable forms: a pair of animals, a human figure, a musical instrument or a tree. Hassan said "I am a tree, it is my habit to receive the rain, waiting for" These are forms that, in their intense simplification of the contours, the figures also recall prehistoric Saharan art, painted on the walls of rock in the desert. The writings of Hassan differ by their sign-in value of handwriting - a sign tied to an ethnic component of cultural belonging, but at the same time are strongly linked to an "ethnos" which includes all mankind. For if the art has the most immediate feature of the representation of a perception of reality, the significance of a work of art is the essence that is hidden in the work. In this sense the work of Hassan Fathi, spellings and forms of his imagination, horses, angels, camels, tools and moons belong to a universal language, meta that binds to the deepest roots of the expression of man. [...]" Fano, May, Teatro della Fortuna, creates the backdrop of the Mummy Mama from an idea and directed by M. Clelia Rossini. Latin America, May, Palazzo M, Fabric Art, The Mysteries of Ergon. Exhibitions: Untitled, 1991, installation. Participates along with T. Bruno, C. Heat, Cast / G.P. Mutoid, E. Cuoghi, S. De Luca, Dormice, E. Lisi, A. Matarazzo, L. Matti A. Mazzoni, R. Meneghetti, A. Nardi, A. Blacks, R. Petronella, S. Tessarollo, F. Squid. The exhibition is curated by Gabriele Perretta, writes in the catalog: Living "[...] So today in this siege of the empire of the word and image, where all the boundary and the contact with the ancient world was lost, or had the opportunity to transform and be digested by ' idolatry of consumption, which could be the instrument of the subjectivity, to display still be a language that bears the traces of ancient and universal signs that go beyond the subjectivity itself and placed beyond the memory of ' Siege of the "integrated media"? We hang up the memory of the shamans, relive the most radical shift, holding the heaviest game to practice historical border that divides the primitive world by the "integrated media." You have to have the opportunity to move the ghosts as they made us aware M. Griaulle, or M. Leiris, in the footsteps of R. Roussel and suspicion G. Bataille. But the question could be dry and absolutist voted to scientific interests, if it were raised only in these terms and if it should only respond to these charges. Dell'auratico this question on the meaning and magic of ancient tracks transferred to the modern looks more alive, if it touches some underground ring of our life story and even links to an old acquaintance. It seems more intimate and engaging existentially, if you drag after we crossed somebody. Maybe when we meet a friend of Africa that we see for many years and find that, by radical African, continued to paint, continued use of the performance, perhaps fine-tuned the job hieroglyph scriptografico, looks pretty sculptures that already did and the has relationships with more formal structures that we want or do not want to belong to the fees now collected Western art neo-capitalist. Of course I'm talking about a long-lived harmony, I'm opening the mouth for the second time on Fathi Hassan, an artist I met in 1979 when he had the chance to set foot in our Partenope and attend the Academy of Fine Arts After so many years, reunite the work of Hassan, a meeting place for new conflicts and dissociations between the two statements in which we spoke above (its ancient and our modern). I find again the book of the desert, and instead of revive what has been externalised in the sand ideographic by Edmond Jabes, found that, for a paroxysmal hypermnesia, we compare and collides with that inner world, deep and squandered, which transmigrated through the symbols of his land and that, although from a mysterious and esoteric writing (without the "imagery"), addiviene in the sequence of masks, in the absence of a vibrant world of Bautta and ghosts, turning to strong feelings, with codes archaic ages. To fill and drill the canvas to convey action, movement and the very identity of the artist to be rediscovered, to be reconstituted, putting in contact with the memory of his land. When I met Hassan Fathi, we both had a little more than twenty years and was on the look out this time crook who were ephemeral and the 80s '900 [...]. Hassan Fathi, despite being born in Cairo, comes from a family of Nubian origin and seems to have its own memory extends over the territory which is called the Desert of Nubia (Nubiyah), a crossroads between Aswan in Egypt and Khartoun in Sudan, a region that was christened by the Egyptians of the country kusti. Over the years the culture of its people is related to the stratification of four centuries of cultural domination of the civilization of the pharaohs and the anthropological and political differences which can be felt at the intersection of different geographical areas. On the stories that bind the traditions of those lands, the history that divides into the great basin of the ancient and prehistoric world have formed our globalizing and postmodern resistance to the approval of the late seventies, a time when she showed me one of Hassan its largest and most shameful folly, a picture would go crazy writing my master then smiled Roland Barthes and above compared to inventions totalitarian, absolute, totalizing, which proposed the work of Keith Haring and company. You must know that the Nubians have great written tradition and, unlike the other ancient towns and villages across Africa who have founded their tradition of art that is transmitted orally, Nubia has opened the way for the merger between rational but also abstract oral and written. For a child born in a city like Cairo, immediately end up living in a large metropolitan routed through the tastes of the Mediterranean, the most beautiful desert outside of Africa and the Arabian flavor most of the east, parents are first shamans. They act as effective transmitters of ancient pictorial memory. And even before the garden can be contaminated by other inner faces, they make up for the Geografien des Unterschiedes, as could say Bachofen. When we met with Hassan, the world entered a ripe dimension of globalization, all around us the emergence of post-modern confirmed the inhuman disasters of great approval. I told Hassan that exotic worlds, both for him and for us in Naples, were worlds apart. They appeared already in their past untouched, but defines them as cold as Levi-Strauss. In fact, the stories of parents and grandparents of Hassan, in an inevitable and tragic irony, had come to us through fashion, tourism, travel to Bowles, by those Viaticum passengers and they had learned only a few small and pale wick who tried to illuminate areas that had tasted flavors and odors governed by the ghosts. As he said, in 1959, C. Levi-Strauss, the flavor of the primitives that remains is a vague memory. [...] In the Seventy and compared with Levi-Strauss on one side and with the coming of Hassan in Naples, although we realized that the shapes of the imaginary with the rise of compact disks were no longer free, sensing that their fate was to agreed uniform patterns of consumption and behavior homogenous and then writing ipermnestica Hassan tried to use it as a kaleidoscope of differences. If everything seemed directed towards homogeneity, conditional on the plasma market, department stores and mass technology, what used to accompany the reading of Claude Lévi-Strauss scriptografiche structures and neo-Nubian? It was a road of pleasure and desires, which saw the flight into memory as a citation, but as a broadcast key structural deviations from the dogmas of graphite and phrases historically deconstructed, which took shape from the "unconscious structures" studied by the intellectual Belgian. Scriptures as unconscious structures typical of human thought and therefore not only capable of dialectical any threat to their consumption of the same form in any mimesis, resemblance, but can also transfer our semiotic exercise over the same artistic dimension: signs of humanity other more understandable. We had discovered a new Cy Twombly, but quite another thing, something less educated, sophisticated and poetically linked with a school. Fathi protruded from the torpor hallucinatory desert dall'annebbiamento vision that goes back to our face when we look to the south and as we see the spectra dell'Afrique fantôme Leiris. The readings of Levi-Strauss had confirmed a suspicion we analyze the differences between primitive shamans and Western artists, including manufacturers of arts, tribal and modern artists, including art and art unconscious conscious, until the final dissolution of the Western world. Flows Travelers transiting planet far and wide, the means of mass communication, carrying ideas and slogans of dissimilar extraction, stereo audio players pocket generate the possibility of living in a large acoustic space, where until a few decades ago even the electric light arrived today comes to us all satellite communication possible. You can still speak of the West? Hassan asks us, as a large continent that is distinct from other areas of the planet, perhaps as those from which he came, may be another place? It is from there that, by insisting on Levi-Strauss, we have given the answer that there are more primitive in the sense of primitive people and this is said with great regret for us, leaving just outside the size of the Indian metropolitan both for the true expressions of the avant-gardes that seemed truly impossible. Of that size and that great perspective on the memory of the ancients studied by Levi-Strauss, anthropology remained as a structural implementation of the unconscious bodies. The writing of Hassan and what it encourages us gain ground the idea that globalization and the great West are brought to us as infinitely small picture, one where humanity is continuing confrontation against all the memories that had violently absorbed but undigested .[...] In Naples, Hassan had found a house near the hill, inside a den of "neighborhoods" which appeared in a cavity carved out of tufa, the beds were jammed into two pieces of wood instead of doors there were white curtains drawn by sheets painted with large symmetrical and incomprehensible signs, which often turn into large mats of memory. As soon as I arrived in this place the image of the carpet I bathed. The carpet for the African tradition is a symbol of the house, accompanied by the image of the place of acceptance and survival. Then the signs came forward and I'm not convinced either in their lack of stateliness, either in their unsubstantial demotic, that's where I realized that writing was fighting what we were feeling at the turn of the artificial, "it" was a response to a great riddle of communication. Indeed, with its sudden fact of similarities, but also the difficulty of volunteers need to say, to transmit information, make for a fine wire, a visual structure, where it is not possible to communicate content. The desert is a large surface colored dunes and willing to accept the signs through the ephemeral traces of steps and the journey of camels that cross it. Often these signs Hassan paint them on a map using the color brown bread or white, reds and ochres. The more the sign went on and more hermeticism is internalized. The purpose of writing, says Ignace J. Gelb, is not to achieve an artistic effect, it is functional as is much of the photographic technique, but even so we also know that writing is often encounter exasperation aesthetic element. The hypermnesia aesthetic is so acute that attempts to undermine its ability statement. Indeed this is what we tried to do when discussing the meaning of the writing of Hassan. Drawing from the example of the ornate Arabic script, which Gelb deems "beautiful but hard to read," and attempt to exacerbate the demotic form, the thrust of his highly hieratic behavior chart, weighed down with baroque Europe. That's for us "punk settantasettini" comes a writing that puts on the African tradition of Dadaism, vomiting sprinkles golden Clash on the board Nubian desert, here is that languages are in conflict, in a state of excitement and excess of formal memory Written overlaps the crossroads of the letter and thickens in the stretch acting on the surface. Writing for Hassan is a starting point in its history because it remains the most complete form of communication. From the letter, the shape of the digit extension code, word, phrase, all verbum used by Hassan may appear as a possible revelation of hidden truths of the sign. In Africa the language is considered part of the body and then running his tongue starts to move a part of it. Hassan thus making incomprehensible language is as if he dropped the possibility of creating a verb load fertilization. The symbolic expression, language of birds, designate a way forward for similarities and subtle phonetic equivalents. Looking at the script we are tempted to read but we can not do that because we are dealing with the signs that are directed toward un'ipermnesia, a language that attempts to abolish the corrupt sound, to tamper with the continuity of sound and knowledge. Hassan broke the sound art to give the possibility to enter other element phonic music, a metamorphosis of sound. Speaking this language that does not mean either in Arabic or in other Grammatology means choosing a language which is not constant for all religions, but that breaks with the very essence of the deity's name, the meaning is lost and it is dispersed also the identity. The ancient book of Arab culture tells us that Islam considers seven letters to seven intelligences or parallel supreme Divine Word. The letters of that alphabet are twenty-eight and are the perfect symbiosis between spirit and body, twenty-eight figures that blend in as many stations moon. Abu Ya 'QUB Sajastani argued that "there is nothing in the world that can not be considered a writing." Hieroglyphics, the ideograms primitive and all related marks are the translation of a language considered divine and ritual. In fact, the Egyptians codified forms of writing, which also called "sacred sculptures. Perhaps to achieve a likeness of a sacred work scriptografico like the one we gave Hassan is the case that we refer to some logical system syllabic, relying primarily on formal appearance. I also thought a table showing examples of writing hieratic and demotic as it moves towards transliterations: graphic sign of Hassan recalls the hieratic literature of the twelfth dynasty hieratic Journal of the Twentieth Dynasty and also the demotic literary III BC . Moreover, in the midst of these references in some ways, looking at the sign of Hassan we also remember writing protopalestinese. Based on these references thousands of years, and this formal territory so vast, we can switch between writing periods and cycles to other artists who have joined the circle of the muses of Hassan. After writing comes the second cycle that is identifiable with the objects and materials that emerge from the surface of white. Of course the white Hassan is not closely related to the White by Kasimir Malevich, but belongs to a trajectory much older and disconnected from the present time. The white in Africa is related to initiation rituals of the forms and represents the color of origin. For Hassan has worked as a tabula rasa after the formal outbreak of writing enigmatic. To silence the surface to start again. After the work thickens, is stratified, it widens, the desire to extend the work unfolds, unfolds and fills any atmosphere. New ghosts reappear on the canvas and other smooth surfaces used for impressing images, icons, symbols, codes, landscapes, figures, cross-language ... Ten years after his arrival in Naples Hassan still insists on a job like the Sahara desert (1989), scrap collecting are the notebook shipments of Safari West, in attempts to revive the satire and irreverence in the fortunes of traveling in the sea of sand in the heart of Africa, a trip turned into a disaster pilgrimage to void, which keeps track of our ambition and our attempts to do the stand-off with the places of life more difficult on the globe. During the 90 lets go to work that underlie social as well indignation: Products panting (1990), Third World Transport Company (1990), ten times if I gave you my soul, there would be enough (1990). But the work of this period, which for me is more telling is certainly not Marcel Duchamp, are Tutankhamen, in 1994. The artist, afflicted by a constant and immoderate use among artists of his generation of the ready-made and citations pseudoconcettuale trying to tell her, trying to come up with something that, as usual, focuses on the difference between the ancient tradition that he moves below and ephemeral state of contemporary art since the advent of the work of "wizards" of Blainville. Hassan arrived in Italy we have seen hammered and hounded by a pseudo-avant-garde rhetoric, which for more than fifty lives sull'equivoco of neo-quote Duchamp, then tried to shift his interests in a timeless dimension. But we must say that Tutankhamun is far from Duchamp as Corot was far from Phidias, but between the declarations of the master of Blainville there one that is right in our case: "The art is produced by a number of individuals who express themselves in a manner staff, not a question of progress. Progress is only an exorbitant claim on our part. [...] Dall'assetto formal Buoyancy of Fathi, it is easy to see that the image he uses is wiser and less naive Kivuthi Mbuno as an artist, to give an example. These differences make us realize how important the technique in the great African culture, not just artistic. The pictures are marked by the development of local cultures and the density of levels of civilization. It should be clear also that when we speak of levels of civilization, it is not going to use a category that designates one upper and one lower, but is intended to emphasize only the layers of diversity. Writing to the work we saw that Hassan is the fundamental basis on which orients the whole development of his work. The writing is what Hassan has put in a canvas bag that had made some years ago to share symbolically toward the desert. Even crossing the desert is a mental exercise, as well as Giorgio Manganelli could be argued that an exercise to make the turn around your home, as maximum stress and the removal from the library of the house. Mbuno is from Kenya and his work is based on a very compact representation of nature that is found in Africa. He express the components more dreams, rituals and magical, evoking a more tight the memories of Wakamba, scenes of hunting and safari, to stylize the actions, behaviors in a pictorial space that is not too different from the methods that used the naive painters from the former Yugoslavia. Hassan in the practice of pictorial space is passed only through the experience of writing and also has come forward even when there was all the attention that is now the University of the Arts of Africa. We must recognize that the crossroads of Africa from which Hassan is fed by many since ancient cultural tools that make that tradition (Arabic, Middle Eastern, African, Saharan Africa, south-west, Nubians, Mediterranean) is an area that has filtered with a large articulation contact and the break between the ancient world and modern world. To give an example that could be worth a testimony of what we remember writing Naguib Mahfouz. Browsing through the photographs depicting the works of Hassan, the filter is easy to see that this culture has absorbed thanks to the revolutions of the art of visual space that is saved. The area of Hassan is not naive, it has nothing that can come closer to Mbuno, the mixture is certainly more modern, this modernity retains all the contradictions possible. After writing space is broken up and the images are crowded as if they returned ghosts in our mind remote. After Tutankahmon exaggeration Pharaonic becomes indispensable. Please note that an Egyptian Pharaoh means "great house" and was used to describe the royal palace. Hassan, making resurgence this symbolism does not want us to understand who feels nostalgic of the old political dynasties and aspires to restore the power and magnificence of Horus, but - like all forms of speech used in the artistic symbolism - the mask of the Pharaoh is a want to be taken literally, as in ancient Egyptian for AA (large house), the extension of literary and historical work that materially is opposed to the Pharaoh now taken from the dictionary Duchamp. In the work of Hassan often found excessive tricks, these rather 'archaic features reminiscent of African masks and a little' are sedimented signs and decorations from the shallow Africa. In Africa the imposition of the mask was often associated with rituals of the earth, the funerary symbolism and proposals initiation. Since the emergence of more remote antiquity forms part of the time evolution in which the peoples, according to Laurie, "and become sedentary farmers." He says that "the masks are sculptures in motion." Compared to these features, the masks are not suggestive of Hassan neo-Picasso, but faces a more ancestral symbolism, a symbolism that deviates in a relationship with the autophagic Tellus Mater. [...] Since Hassan was able to attend the Venice Biennale in his country have changed a bit 'of things and, in recent years, many Egyptian artists, with the Biennale of Cairo and the emergence of a growing interest in those territories cultural, increasingly, are present on the scene northern Europe. Just a few names such as Ghada Amer, Mona Marzouk, Wael Shawky. Compared to these authors, however, Hassan is poetically more decentralized, because for many years, his job is on nell'ironizzare cliches that totalitarian tradition neoconcettuale conveyed in these countries and in these cultures. This does not mean that Hassan does not recognize the path neoconcettuale a valence and an identity, but rather means that the road traveled by the ghosts and barbarism exceptions is to produce, in addition to any package, a subjective work. That's why the subjectivity unleashed by Hassan also makes use of the paradox of Tutankahmon or, in recent times, a subtle blend of the formalization of the mask and the metaphor of the saint. Indeed, it seems that Baudelaire, in a part of Mon cœur mis à nu, saying that to keep alive knowledge, belief and create exist only three respectable beings: the holy, the warrior and the poet. Hassan with his portraits of the holy warriors trying to identify a single figure in the policy of this trilogy. The art of Western capitalist has made everything so useless, trivial and transitory, any form of struggle, any sign that claims a difference, any identity that aspires to emerge as a strong autonomy are continually pressured and driven more by the type paroxysmal, where l 'others can not distinguish anything. Hassan rebels to this approval, but did not want to say that art is a fact that it is the individual genius and the skill of the hero. Go go as the warrior is the image dell'inverosimile since, mixing the traditional Arab, Mediterranean and the image of the Nubian warrior, Fathi try to speak with some knowledge of painting, a language that moves beyond its technical language and do not necessarily hybridized relaxes into the spiral of abuse of a sign on the other. When we think we could fall back to the warrior Snofru precisely, the pharaoh who began the fourth dynasty and who built south of Saqqara (Dahshur), the first triangular pyramid with a perfectly smooth face. Apparently Snofru be remembered because he led a series of military campaigns in Nubia. Unequivocally its history could be the symbol of the warrior, but instead, when the images through the sign of Hassan, he does not want to assert the tautology of power will not incarnate the figure of the monarch, despot and violent, as a metaphorical way of saying, Duchamp once again, that conceptually the differences secular dwindle when we face the possibility of stress a universally recognized sign outside himself. Returning to writing, we say that a recent archaeological discovery brings us back to the use of artistic and historical document fragment. A cuneiform texts found at Nuzi, in ancient Mesopotamia, the current Yorgan-Tepe in Kerkuk, evokes a list of the inventory accounts for a small bag. Perhaps this old rucksacks metaphorically represent the explanation of the memories that the art can concentrate on doing a job historical ties. As Catullus said no videmus manticae quod in tergo est, or fail to see what is kept in the bag. Perseus was given a grant by the nymphs do not know the contents but that would be useful back at critical moments in the same way for the artist is important is that in that telaccia put his mark craftsmanship. That is why the symbolism of the bag Hassan used in installations, almost as if to complete the design and the image of the time. Indeed, at his home Hassan has placed the bag under a clock, as if it were the chronotope that breaks its image in the enigma, at that time connecting his memoirs beyond the figures that affect the pace of our daily slide. For those unwilling to understand how they can be together the various experiences, which start from the square and come up with a spontaneous dramatization of the artistic object and its shape, is easy to look like Hassan fits in its own facilities and how he builds his sets . In the '80s, when he lived in Naples, having practiced the world of theater, has also accumulated considerable experience in staging, which today does not reproduce like tableau vivant, but as a genuine consultation environment and tools work. Fathi is covered by her veil and her robes in a complete set in the Middle East, tribal, equipped with a setting of white linens, paintings of jars, vases, signs arabesques, pistils, baskets, leaves, diamonds, Profiles prophetic and colorful rugs by the geometry. Hassan, with its customs and its palingenetic want to appear casual, it's inside a makeshift stage, which is not affected by the rigid reconstruction of Louis Alders, his references are compact and the state's literary whole consultation makes us feel a ferment , an energy that comes from improvisation daily. [...] We could quit trying to read the poverty and extreme simplicity of the set of Hassan with the image of the painting unfinished by a red background decorated with white masks and purple with the writing, which has now become a decorative carpet. In the foreground is the shadow of a man-bird, with its airy plumage that holds in one hand a green vase. This son of the strangest Nubian treasuries, we could use him as enigmatic as the other face of the angel cairologico Klee, so dear to Benjamin. Ancient tradition in Egypt, we know that a bird-headed man or woman is the soul of the deceased, or that of a deity who try to visit the earth. This image is the very life that is no longer able to contain the cages consolidating our artistic culture. The real Firebird is black, because it was already burned in the sun and was burnt during rites of passage from ancient to modern, today this ritual we can do is the ghost of a negative condition, such as negative impressions on film. This figure gives us a chance to speculate positive, as the modern tribal Benjamin. It carries within it the possibility of nourishment: the breast of the bird becomes the soul of the deceased's reputation and ability to continue to feed. Taking a cue from the writings of Adonis, one of the most famous poets in Arabic, we can speak of the dialectic between the word and the word desert city and, as you say, Yves Bonnefoy, a junction that brings together food Greek philosophy, Roman law and the religions of the book. The peculiarities of the painting, a technique as old as worn in its form and shape in his work, is to be primarily an incentive to be able to spin and leak the contents. Within this approach, these looks timeless wonder if you can find "the new hour, every hour that time can be extracted by the oracle of the bag. Adonis, in this sense, he asks where is the new hours, and doing an analysis on the whole father-son relationship, comes out without repeating the myth of Hector, but the absence of any killing, "the Firebird can penetrate more effectively on the night of sense ... To be truly modern, for the artist Arabic, sparkle like a flame, the fire flared up the old but completely new. ". Mirano (VE), May 28-July 16, Space Pardes, Enigma exciting. Artists logically. Exhibitions: The Witness, 1993, plotter printing, 140x220 cm. Among the other artists: G. Balla, p.p. Cannella, B. Ceccobelli, G. Dessì, S. Di Stasio, D. Hirsch, R. Journo, F. Levin, S. Lombardo, A Bertolini, M. Merz, R. Opalka, A. Perilli. The exhibition is curated by Maria Luisa Trevisan. London, June 28-July 22, October Gallery, Text Messages. Five Contemporary Artists and the Art of the Word. Exhibitions: the historical past of Man Lightweight, 1985, video installation. With R. Koraïchi, H. Massoudy, L. Shaw, Wijdan. The exhibition was curated by Elisabeth Lalouschek, artistic director of the gallery. In the text presentation of Polly Savage "[...] Text is a thread that runs through Fathi Hassan's work with video, photography, performance, painting and installation. Often overlaying photographic images, his writings resemble the Kufic script of Arabic, yet remain resolutely illegible, Reminding us of the dangers of trusting the written word, and the fragility of the bond between text and meaning. He evokes a long history of language as an instrument of power, drawing in particular Nubia's history of colonization and the resulting displacement of indigenous languages .[...]" Sant'Agata de Goti (BN), July, Ad Hoc. Exhibitions: Writing, 2005, mixed media on canvas, 180x140 cm. Among the other artists R. Cahen, P. Campus, C. Cunningham, H. Grensbeck, D. Galas, G. Hill, W. J. Klein Maybury, M. Mori, P. McCarthy, T. Oursler, R. Smithson, F. Vaccari, B. Venet, B. Viola. The exhibition is organized by Gabriele Perretta. Brookline (Massachusetts), September 1 to October 13, GASP Gallery artists studio, Italian Dreams. Exhibitions: Face of the Holy Warrior, 2005, mixed media on paper, 35x25 cm, Forests, 2001, mixed media on paper, 28x25 cm, Portraits, 2005, mixed media on paper, 14x11 cm, Dreaming, 2001, mixed media on paper, 48x36 cm; holy warriors, 2005, mixed media on paper, 78x56 cm, Holy Face, 2004, mixed media on paper, 75x50 cm, Mosaic, 2006, mixed media on paper, 70x50 cm, Flag, 2006, mixed media on paper, 70x50 cm; Breath, 2006, mixed media on paper, 70x50 cm, androgynous, 2006, mixed media on paper, 70x50 cm. Participates with M. M. Campos-Pons, C. M. Weems, R. Picinin. The exhibition is curated by Mary Magdalena Campos-Pons. Castel de Lama (AP) September 17 to November 5, Villa Saghetti Panichi, Nature: Death and Resurrection. Exhibitions: Writing Live, 2006, acrylic on canvas, 120x80 cm. Among the other artists participating P. Fogliati, P. Gilardi, L. Mainolfi, V. Messina, N. Best, D. Oppenheim, G. Penone, V. Pisani. The exhibition is curated by Marisa Vescovo. Ascoli Piceno, September 17 to November 5, Villa Saghetti Panichi, Nature: Death and Resurrection. Exhibitions: Safir in Paradise, 2004, natural pigments on canvas, 100x100. Participates with P. Gilardi, V. Messina, D. Oppenheim, G. Penone, V. Pisani. Edited by Marisa Vescovo. Pesaro, November 18-December 5, Benciv Art Gallery, History of Containers. Describes as a catalog: Untitled, 1997, pencil on paper, cm. 9.8 x15; Untitled, 1997, pencil on paper, cm. 14.8 x10, Untitled, 1987, watercolor and pencil on paper, cm. 18x11, Untitled, 1998, mixed media on paper, cm. 17.4 x24, 5; Untitled, 1996, watercolor on paper cm. 38.5 x30, 4, Untitled, 1995, pastel on paper, cm. 45.9 x38, Untitled, 1997, technical paper mistasu, cm. 33.8 x23, 9; Untitled, 1995, acrylic on canvas, cm. 43.5 x40, Untitled, 1994, mixed media on paper, cm. 33.7 x23, 3; Untitled, 1994, pastel on paper, cm. 25x18, Untitled, 1995, watercolor on paper cm. 32x32, Untitled, 1996, acrylic on canvas, cm. 35x35, Untitled, 1995, watercolor on paper cm. 33x23, 6; Untitled, 1995, watercolor on paper cm. 31.8 x26, 8; Untitled, 1992, ink on paper, cm. 41x30, 6; Untitled, 1999, watercolor on paper cm. 36x35, 4; Untitled, 2000, ink on film, cm. 28.4 x30; Container of Nubia, 2006, touched up with gold engraving, cm. 135x100; Warrior's Container, 2002, mixed media on canvas, cm. 220x192; Container of Light, 2005 glitter, sand and gouache on canvas, cm. 100x80, Black Container, 2002, glitter and acrylic on canvas, cm. 60x50; Container of Light, 2006, glitter, acrylic on canvas, cm. 120x100; Container of Love, 2006, glitter, sand and tempera on canvas, cm. 100x80; Container of Love, 2006, glitter, sand and tempera on canvas, cm. 120x100; Containers of Memory, 2006, glitter, sand and gouache on canvas, cm. 80x80; Containers of Memory, 2006, acrylic, barrel, charcoal and glitter on canvas, cm. 101x80; The exhibition 'curated by Roberto Bencivenga. Rose Issa writes in the catalog: "Clearly I remember my delight when I first chanced upon Fathi Hassan's work in the 1988 Venice Biennale. What Attracted me instinctively to his work was the recognition of some calligraphical signs, an abstract language that was speaking to me, despite the fact that no words in his scripts were legible. Phonemes were recomposed indefinitely by covering most of the canvas, turned into curves, shaped into waves, and woven into a melodic and rhythmic image, transforming the canvas into a visual incantation. I did not know then that he was a very young self-exiled artist from Nubia, and yet one could sense right away his African / Egyptian / Arabic background. As a curator of Middle Eastern and North African contemporary art, my ignorance of his name and work surprised me. Yet I was to discover that this lack was shared not only by other professionals from his hometown, but also by almost all the Arab world. Wherever I asked about him, I was corrected by people confusing him with Hassan Fath |
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