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Kinda Hassan is a multi-media artist who works with video and sound among other art forms.

She uses forms that capture a reality in an act of denouncement, revealing that which is not usually seen. Beyond recording, her voyage into different forms, from video to sound, ventures into transforming and giving space to different possibilities.

Her video work “Come as I Rise” (2009-2012), video-dance “Cairography” (2013, with Dalia Naous) and photo-collage “Eight Days and War” (2006) among others are manifestations of her interest in decomposing politically and culturally laden conditions to their bare elements, where she delves in meanings born to an intricate process of de-contextualization.

In her motion picture installation, “The Tone so Prolonged” (2012), she grabs a lost self against a medley of a passing time and mundane images.

She has exhibited her artwork in a number of local and international festivals and art galleries, including Transmediale and Fair Play Festivals in Berlin, Werkleitz Festival in Halle, Metropolis Cinema in Beirut, Al-Riwaq Gallery in Bahrain, City Of Women in Ljubljana, and MEASAF in Athens.

In 2008, she co-founded the regional Arabic music platform eka3 and acted as the executive manager in Lebanon. In mid 2013, she moved to Cairo where she managed the Arab Digital Community Area (DECA) of the Arab Digital Expression Foundation (ADEF) until end of 2014.

She now dedicates her full time to her art practice and puts aspects of it to serve her surrounding community in the areas of video production, sound design and music composition, visual and sonic branding, and creative direction.

Hassan completed her Master's degree in Fine Arts at the Lebanese Academy of Fine Arts ALBA in 2007. She has interned at l’École Nationale Supérieure des Beaux Arts (ENSBA) in France, AudioTakes Studios in Lebanon, and Istituto Statale D’Arte in Italy.

She was born in Beirut, Lebanon, 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.

She is currently working on a video art project inspired by intimate footage on a recurring significant cyst, a risky venture into the unknown, the uncertain and intangible interconnections between the inside and the outside that govern our life.

*developed with Lina Attalah

Kinda Hassan is a multi-media artist who works with video and sound among other art forms.

She uses forms that capture a reality in an act of denouncement, revealing that which is not usually seen. Beyond recording, her voyage into different forms, from video to sound, ventures into transforming and giving space to different possibilities.

Her video work “Come as I Rise” (2009-2012), video-dance “Cairography” (2013, with Dalia Naous) and photo-collage “Eight Days and War” (2006) among others are manifestations of her interest in decomposing politically and culturally laden conditions to their bare elements, where she delves in meanings born to an intricate process of de-contextualization.

In her motion picture installation, “The Tone so Prolonged” (2012), she grabs a lost self against a medley of a passing time and mundane images.

She has exhibited her artwork in a number of local and international festivals and art galleries, including Transmediale and Fair Play Festivals in Berlin, Werkleitz Festival in Halle, Metropolis Cinema in Beirut, Al-Riwaq Gallery in Bahrain, City Of Women in Ljubljana, and MEASAF in Athens.

In 2008, she co-founded the regional Arabic music platform eka3 and acted as the executive manager in Lebanon. In mid 2013, she moved to Cairo where she managed the Arab Digital Community Area (DECA) of the Arab Digital Expression Foundation (ADEF) until end of 2014.

She now dedicates her full time to her art practice and puts aspects of it to serve her surrounding community in the areas of video production, sound design and music composition, visual and sonic branding, and creative direction.

Hassan completed her Master's degree in Fine Arts at the Lebanese Academy of Fine Arts ALBA in 2007. She has interned at l’École Nationale Supérieure des Beaux Arts (ENSBA) in France, AudioTakes Studios in Lebanon, and Istituto Statale D’Arte in Italy.

She was born in Beirut, Lebanon, 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.

She is currently working on a video art project inspired by intimate footage on a recurring significant cyst, a risky venture into the unknown, the uncertain and intangible interconnections between the inside and the outside that govern our life.

*developed with Lina Attalah

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 are 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.

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. 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.

I like to record people as they perform, as they dance, whirl, demonstrate, sing, chant, or quarrel.

Recording can often become an act of performance: I merge with my medium and my subject. They become an extension of my senses.

My favorite medium is that which can capture.

I consider the image to be a possible space for distortion.

Sound impresses me for its penetrative power. I am drawn by the thought of a rich sound language that deepens processes I engage with.

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

*developped with Lina Attalah

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 are 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.

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. 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.

I like to record people as they perform, as they dance, whirl, demonstrate, sing, chant, or quarrel.

Recording can often become an act of performance: I merge with my medium and my subject. They become an extension of my senses.

My favorite medium is that which can capture.

I consider the image to be a possible space for distortion.

Sound impresses me for its penetrative power. I am drawn by the thought of a rich sound language that deepens processes I engage with.

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

*developped with Lina Attalah

 

Kinda Hassan - Independent Artist

info@kindahassan.com

Cairo/Beirut/Paris