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Biography

Video and sound are only two of the media used by versatile Lebanese artist Kinda Hassan. She was born in Beirut, Lebanon in 1984, out of which she worked until the age of 29, often responding to phenomena born to the parameters and the locality of the city. Today, Hassan’s practice became less relevant to the cities where she resides and more centered around the body which has become the ultimate space of being. Her works have been exhibited or screened at various festivals, museums and art galleries. Hassan completed her Master's degree in Fine Arts at the Lebanese Academy of Fine Arts “ALBA” in 2007, and her Sound Design Master’s degree at the Ecole Supérieure des Beaux Arts “ESBA-TALM” in 2018. In her latest works, she experiments with the relationship between sound and the space in which it is diffused, focusing on sound spatialization in multichannel installations. She explores acoustics and phenomena of resonance and weaves them into her sound work.

Biography

Video and sound are only two of the media used by versatile Lebanese artist Kinda Hassan. She was born in Beirut, Lebanon in 1984, out of which she worked until the age of 29, often responding to phenomena born to the parameters and the locality of the city. Today, Hassan’s practice became less relevant to the cities where she resides and more centered around the body which has become the ultimate space of being. Her works have been exhibited or screened at various festivals, museums and art galleries. Hassan completed her Master's degree in Fine Arts at the Lebanese Academy of Fine Arts “ALBA” in 2007, and her Sound Design Master’s degree at the Ecole Supérieure des Beaux Arts “ESBA-TALM” in 2018. In her latest works, she experiments with the relationship between sound and the space in which it is diffused, focusing on sound spatialization in multichannel installations. She explores acoustics and phenomena of resonance and weaves them into her sound work.

 

Kinda Hassan - Independent Artist

contact@kindahassan.com

Artist Statement

My favourite medium is that which can capture. Recording can often become an act of performance: I merge with my medium and my subject. They become an extension of my senses.

Sound impresses me for its penetrative power. I am drawn by the thought of a rich sound language that deepens processes I engage with. I often explore acoustics and phenomena of resonance in spaces and objects and weave them into my sound work.

Found in certain random moments and places, I capture individuals in deeply contextualized settings like mass events or gatherings, and dive into them, locking them in time and space. I like to record people as they perform, as they dance, whirl, demonstrate, sing, chant, or quarrel. In doing so, I challenge the reality of a context in relation to the body, in its individuality and incessant beat, pushing the limits of the documentary to poetry or, sometimes, fiction.

Anything that resembles sleep charms me; experiences that swallow me beyond the visible, beyond the first layer of understanding, into some origin. I try to express that which is still unknown, which is beyond reason; the spontaneous and the unthought-of. The never-ending alternation between the inside and the outside is dazzling, this skin, and the pores, my closed body and the infinity of space. I watch closely both the possibilities and the obstacles of the body, in how it can travel into a wider state of being, out of time, out of space, out of itself, but only through itself. I find the body to be the main pathway to alter-realities.

I foresee poetry when instincts and impulses emerge, and when clumsiness collides with self-image. I explore the frontiers between the theoretical claims, the concepts and the human body in its daily life limitations. 

I find building mechanical devices to be a powerful and amusing process of giving soul to the inert, especially when their utility is questionable and their purpose is artistic, philosophical or poetic. I feel manually operated machines or devices bring closer my work to the people experiencing it. I am also drawn to automates and their limitations and awkwardness just as much as their abilities and autonomy, all of which gives them their unique perceived character and charm. 

When I author a project, it becomes my mirror. When I collaborate, a process that resembles translation or language negotiation takes place.

Artist Statement

My favourite medium is that which can capture. Recording can often become an act of performance: I merge with my medium and my subject. They become an extension of my senses.

Sound impresses me for its penetrative power. I am drawn by the thought of a rich sound language that deepens processes I engage with. I often explore acoustics and phenomena of resonance in spaces and objects and weave them into my sound work.

Found in certain random moments and places, I capture individuals in deeply contextualized settings like mass events or gatherings, and dive into them, locking them in time and space. I like to record people as they perform, as they dance, whirl, demonstrate, sing, chant, or quarrel. In doing so, I challenge the reality of a context in relation to the body, in its individuality and incessant beat, pushing the limits of the documentary to poetry or, sometimes, fiction.

Anything that resembles sleep charms me; experiences that swallow me beyond the visible, beyond the first layer of understanding, into some origin. I try to express that which is still unknown, which is beyond reason; the spontaneous and the unthought-of. The never-ending alternation between the inside and the outside is dazzling, this skin, and the pores, my closed body and the infinity of space. I watch closely both the possibilities and the obstacles of the body, in how it can travel into a wider state of being, out of time, out of space, out of itself, but only through itself. I find the body to be the main pathway to alter-realities.

I foresee poetry when instincts and impulses emerge, and when clumsiness collides with self-image. I explore the frontiers between the theoretical claims, the concepts and the human body in its daily life limitations. 

I find building mechanical devices to be a powerful and amusing process of giving soul to the inert, especially when their utility is questionable and their purpose is artistic, philosophical or poetic. I feel manually operated machines or devices bring closer my work to the people experiencing it. I am also drawn to automates and their limitations and awkwardness just as much as their abilities and autonomy, all of which gives them their unique perceived character and charm. 

When I author a project, it becomes my mirror. When I collaborate, a process that resembles translation or language negotiation takes place.