Born in Marrakech, Anissa Boukili El Hassani is a Moroccan-Canadian multidisciplinary artist and poet based in Tio’Tia:ke (Montreal).
Her artistic practice is informed by her immigrant perspective, navigating the dynamic interplay of diverse cultures. She holds a BFA in Studio Arts from Concordia University and a DCS in Visual Arts.
Aussenwelt Gallery, Montreal
CANIF – Cégep du Vieux-Montréal, Montreal
Body Archeology : Ancestral Memory and Im(migration)
Milieu Institute, Montreal
VAV Gallery, , Montreal
Parc Offsite Gallery, Montreal
Absence of another
VAV Gallery, Montreal
Volume 1: Le Jardin
Atrium & Studio-Theâtre des Grands Ballets, Montreal
Gham & Dafe Gallery , Montreal
Intercollegiate Visual Arts Exhibition
L’Agora – Cégep du Vieux-Montréal, Montreal
ART X SCIENCE X TECH
Eastern Bloc, Montreal
ISEA International, Paris, France
Je t’offrirai un paysage duquel tu ne voudras te jeter
Éditions du Drame
Éditions Prise 1, CANIF
Cognitive dissonance: a conversation with Anissa Boukili El Hassani
by Julia Fortin
Anissa Boukili El Hassani draws on her experience as an immigrant, perpetually torn between opposite cultures.
Her artistic practice revolves around the notions of decolonization, reappropriation, self-criticism and repair. The plurality of identities and fragmentation are her main sources of inspiration, hence her goal: the democratization of conceptual art through an intersectional perspective. Thus, she seeks to combine the extremes to paint a picture of the complexity of the social, economic, cultural and historical relations existing within the capitalist system.
Her main mediums are performance, sculpture, painting, installation, video, electronic art and poetry. She mixes materials, techniques and disciplines in order to confuse the truth with the false. Her practice is done in conjunction with technology so as to get lost in the “who did what?”
She critically makes use of certain modes of production and popular cultural parameters, notably accumulation, excess and repetition. She thus tries to reveal the dissonances and dichotomies that shape everyday life. Speed, overconsumption and artifice become her playground. Deception is then a means of disturbing the limits of traditional dialectical hierarchies; art and craft, technology and handmade, mass production and uniqueness, innovation and imitation, figurative and abstract, West and East.