Biography
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.

Solo Exhibitions
Contrefaçon
Aussenwelt Gallery, Montreal
2021
Dichotomies
CANIF – Cégep du Vieux-Montréal, Montreal
2018
Collective Exhibitions
Body Archeology : Ancestral Memory and Im(migration)
Milieu Institute, Montreal
2022
Cathemeral Observances
VAV Gallery, , Montreal
2022
Metamorphosis
Parc Offsite Gallery, Montreal
2021
Absence of another
VAV Gallery, Montreal
2020
Volume 1: Le Jardin
Atrium & Studio-Theâtre des Grands Ballets, Montreal
2020
Malaises
Gham & Dafe Gallery , Montreal
2019
Intercollegiate Visual Arts Exhibition
L’Agora – Cégep du Vieux-Montréal, Montreal
2018
Artist Residencies
ART X SCIENCE X TECH
Eastern Bloc, Montreal
2023
Symposiums
Symbiosis
ISEA International, Paris, France
2023
Publications
Je t’offrirai un paysage duquel tu ne voudras te jeter
Éditions du Drame
2022
Sans Ancre
Éditions Prise 1, CANIF
2017
Press
Cognitive dissonance: a conversation with Anissa Boukili El Hassani
by Julia Fortin
Artist statement
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.