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.

Photo : Antoni Maliki

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

https://www.chenghuai.org/editorial-articles/cognitive-dissonance-a-conversation-with-anissa-boukili-el-hassani

 

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.