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Biography

 

Kinda Hassan is a Paris-based artist who works with video and sound among other forms.

In her work, she creates setups and possibilities for the audience to experience dynamic spaces where psychic and social dialectics are in active play. Recently, she has focused on working with sound, as a medium that embodies movement.

She has also collaborated as a sound artist on many films and performances, and her work has been exhibited in numerous festivals and art spaces, including Cannes, Berlinale, Oberhausen, Jihlava, and Transmediale Festivals, MUCEM, La Maréchalerie Art Center, Mumok, Casa Arabe, among other art spaces, festivals and platforms in Europe, North America and the Middle East.

She was born in Beirut in 1984, where she lived and worked until 2013. She completed two MA degrees, in fine arts at the Lebanese Academy of Fine Arts in 2007 (ALBA), and in sound design at the Ecole Supérieure d’Art et de Design (ESAD-TALM) in Le Mans in 2018. She is enrolled since 2021 in the electroacoustic music composition program of the Conservatoire à Rayonnement Départemental (CRD) in Pantin.

(Aug 2023)

Biography

 

Kinda Hassan is a Paris-based artist who works with video and sound among other forms.

In her work, she creates setups and possibilities for the audience to experience dynamic spaces where psychic and social dialectics are in active play. Recently, she has focused on working with sound, as a medium that embodies movement.

She has also collaborated as a sound artist on many films and performances, and her work has been exhibited in numerous festivals and art spaces, including Cannes, Berlinale, Oberhausen, Jihlava, and Transmediale Festivals, MUCEM, La Maréchalerie Art Center, Mumok, Casa Arabe, among other art spaces, festivals and platforms in Europe, North America and the Middle East.

She was born in Beirut in 1984, where she lived and worked until 2013. She completed two MA degrees, in fine arts at the Lebanese Academy of Fine Arts in 2007 (ALBA), and in sound design at the Ecole Supérieure d’Art et de Design (ESAD-TALM) in Le Mans in 2018. She is enrolled since 2021 in the electroacoustic music composition program of the Conservatoire à Rayonnement Départemental (CRD) in Pantin.

(Aug 2023)

Artist Statement

 

In many of my works, I bring into play a movement between inside and outside, putting the relationship of one’s being to the world outside it at the center of this movement. Through embodied experience, the question I wrestle with poses itself in clarity: how do we deal with external realities, with what we carry inside us? These two sites, opposing each other in appearance, become dialectically connected, with their connection residing in the movement between them. I investigate the spaces created by this meeting, where the frontiers between the two poles get blurred and only experience can be the pathway to grasp them. My work attempts to create possibilities for the audience to encounter these spaces, allowing for a reflection on how we deal with the invisible, indescribable, and creating aesthetic forms that are evocative in their strangeness.

My being and the world outside it are lit by fragments. They are fragments that reflect one another like mirrors; I draw threads between them, I become the thread. For one, I think of homeland, the binding formative construction, as a fragment, and of fragments as homelands. I believe meaning lies in the relation we create between these fragments of the personal and the political, the cognitive, the sensorial and the emotional. Despite their lacking, there is meaning residing in each isolated part, yet any new thread adds meaning to each fragment. Every fragment is both itself and yet points to its lacking, to a completion that lies outside of it. The heterogenous becomes whole. Is this whole the original nucleus? 

Because sound and video can only be experienced in time, and because their recording process allows a composition with the real, with what is out there, I find these mediums to be generative for the creation of dialectical movements, between inside and outside, between the fragments and the whole, between the body and what transcends it. It is as though they capture in time what falls out of time.

Sound is particularly interesting to me because it only exists internally within its movement; there is no grasping of a totality, there is no frozen image or still moment, there is no fixed representation. Through an oscillating wave, sound, as an event, carries movement through time, in order for itself to be possible, and for the experience of resonance to unfold. Movement is what sound is, and it can only be experienced as such.

Artist Statement

 

In many of my works, I bring into play a movement between inside and outside, putting the relationship of one’s being to the world outside it at the center of this movement. Through embodied experience, the question I wrestle with poses itself in clarity: how do we deal with external realities, with what we carry inside us? These two sites, opposing each other in appearance, become dialectically connected, with their connection residing in the movement between them. I investigate the spaces created by this meeting, where the frontiers between the two poles get blurred and only experience can be the pathway to grasp them. My work attempts to create possibilities for the audience to encounter these spaces, allowing for a reflection on how we deal with the invisible, indescribable, and creating aesthetic forms that are evocative in their strangeness.

My being and the world outside it are lit by fragments. They are fragments that reflect one another like mirrors; I draw threads between them, I become the thread. For one, I think of homeland, the binding formative construction, as a fragment, and of fragments as homelands. I believe meaning lies in the relation we create between these fragments of the personal and the political, the cognitive, the sensorial and the emotional. Despite their lacking, there is meaning residing in each isolated part, yet any new thread adds meaning to each fragment. Every fragment is both itself and yet points to its lacking, to a completion that lies outside of it. The heterogenous becomes whole. Is this whole the original nucleus? 

Because sound and video can only be experienced in time, and because their recording process allows a composition with the real, with what is out there, I find these mediums to be generative for the creation of dialectical movements, between inside and outside, between the fragments and the whole, between the body and what transcends it. It is as though they capture in time what falls out of time.

Sound is particularly interesting to me because it only exists internally within its movement; there is no grasping of a totality, there is no frozen image or still moment, there is no fixed representation. Through an oscillating wave, sound, as an event, carries movement through time, in order for itself to be possible, and for the experience of resonance to unfold. Movement is what sound is, and it can only be experienced as such.