{"id":12484,"date":"2019-02-06T12:22:51","date_gmt":"2019-02-06T08:22:51","guid":{"rendered":"https:\/\/www.alowais.com\/?p=12484"},"modified":"2019-02-06T12:22:51","modified_gmt":"2019-02-06T08:22:51","slug":"622019-2","status":"publish","type":"post","link":"https:\/\/www.alowais.com\/en\/622019-2\/","title":{"rendered":"Fathi Hassan: a veteran Egyptian artist who deserves more attention"},"content":{"rendered":"
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His work takes in his journey from his Nubian community to his days as a ‘wild Neapolitan’<\/strong><\/p>\n<\/div>\n<\/div>\n

Hemsat [Whispers], the opening show for 2019 at Lawrie Shabibi in Dubai\u2019s Alserkal Avenue is a real \u00adsurprise: bright, \u00adexpressive works by\u00a0Egyptian \u00adartist Fathi Hassan, who\u00a0\u2013 though he appeared in the \u00adVenice \u00adBiennale in 1988\u00a0\u2013 is \u00adlittle-known in the region today. That shouldn\u2019t be the case. His works, from the \u00adexplosive drawings of his 1980s \u201cwild \u00adNeapolitans\u201d phase, to the intricate \u00adcalligraphy and drawings he is making today, deserve more attention.<\/div>\n
\n

Hassan paints boldly \u00adrendered faces, or makes lines of patterns that appear almost like small cities seen from above. Some works resemble\u00a0posters, dotted with ancient hieroglyphics like advertisements for a Pharaonic \u00adcinema, or as if selling personal \u00admemories of the Nile. But there is always one constant: a\u00a0vibrancy \u00adrunning through the works.<\/p>\n

\u201cIt is an energy, a \u00admagnetic wave of the soul which \u00adencounters other magnetic waves on its way,\u201d\u00a0he says of his working process. \u201cFor me, painting is the desire to answer a question to which I can find no other way of replying.\u201d<\/p>\n

The\u00a0\u2018wild Neapolitans\u2019 group<\/strong><\/h2>\n

Hassan was born in 1957, in a Nubian community in Cairo. He worked there as an artist for a time, and then moved to Naples in Italy in the 1980s, when he won a grant to study \u00adpainting. It was a vibrant time for the city.<\/p>\n

\u201cAmerican Pop Art, the art of Joseph Beuys, Andy Warhol, Keith Haring, \u00adRichard Long, and Robert \u00adMapplethorpe,\u201d he says, all came to the \u00adGalleria Lucio Amelio, which became a focal point for avant-garde \u00adEuropean and American artists. These artists\u2019 \u00adanarchic ideas of happenings \u2013 a \u00adWarholian mixing of high and low, and the artist as impresario \u2013 spread through the Naples art scene.<\/p>\n

\u201cI was part of the \u2018wild Neapolitans\u2019 group, which arose in opposition to corruption and urban decay,\u201d recalls Hassan. \u201cI didn\u2019t paint on walls but went into pubs and painted live, sitting with a canvas in front of me while people drank and listened to music. My group frequented a place in Naples called Diamond Dogs and I exhibited live there with the paint still fresh.\u201d<\/p>\n

It was at the Galleria Lucio Amelio that Hassan met\u00a0New York graffiti artist\u00a0Haring. After this encounter, Hassan\u2019s work began to take on similarities to Haring\u2019s with its stick-like figures. Hassan\u00a0painted a tribute to Haring the night after the two\u00a0met. That work\u00a0isn\u2019t on view in Dubai, but the show has drawings from his ensuing\u00a0Remembering Haring\u00a0series from 1984 and 1985.<\/p>\n

‘Nubia represents my childhood and family’<\/strong><\/h2>\n

Hassan\u2019s work also folds in material from a different source: from the beginning, his paintings and drawings were an attempt to put the Nubian tales of his childhood on to paper. \u201cThe Nubian language is not written, it is oral,\u201d he explains. \u201cTherefore I would use lots of different signs and put them together as you would to create a rich tale, with incessant repetition.\u201d<\/p>\n

Block-like Arabic, almost Kufic calligraphy scrawls across his work, as well as symbols from his native landscape, such as palm trees, fish\u00a0and sailing boats. His palette is often the tans and ochres seen in Sudanese painting; his \u00adfigures are black Africans\u00a0bearing expressions of vague worry or doubt.<\/p>\n

\u201cNubia represents my childhood and family,\u201d he says. \u201cIn my grandmother\u2019s house, in the city of Toshka, there was a constant coming and going of relatives. That is where I smelled the familiar smells, observed, listened to voices, also while out playing or at school. They stayed inside me and then became united with those of Cairo when I lived there. I mixed everything, \u00adNubian and Egyptian culture.\u201d<\/p>\n

The works in the show range from the mid-1980s to the present day. Some of the stand-out ones are the most recent,\u00a0with Arabic script and small repeated symbols forming rows of patterns that make the works look almost cartographical. If, in the earlier works, you sense\u00a0a desire to confront his nomadic identity head on, here he seems to have reached a slower, more concentrated pace: recording becomes a method of remembering.<\/p>\n

Future<\/em>, from 2012, becomes a city of little, tooth-like \u00adhouses and urchin-like blooms nestled above \u201crenew\u201d\u00a0\u2013 an evocative word for the Nubian community\u00a0\u2013 and \u201cbuild\u201d in Arabic. Black veins branch off like waterways throughout the work.\u00a0Head<\/em>, from 2011, resembles a diagram of how a brain stores memory: the tightly rendered Arabic indeed tells Hassan\u2019s\u00a0memories, all segmented apart.<\/p>\n

He has\u00a0continued his \u00adjourney north,\u00a0having moved to Scotland, where his wife and son live. \u201cI like the climate, the air of mystery of the land, the music and theatre,\u201d he says.<\/p>\n

But it\u2019s clear Egypt has never left him, and it\u2019s a treat to be exposed to his work in the region.<\/p>\n

Hemsat [Whispers] is at Lawrie Shabibi in Alserkal Avenue, Dubai,\u00a0until February 20.<\/em><\/p>\n

www.thenational.ae<\/p>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

His work takes in his journey from his Nubian community to his days as a ‘wild Neapolitan’ Hemsat [Whispers], the opening show for 2019 at Lawrie Shabibi in Dubai\u2019s Alserkal Avenue is a real \u00adsurprise: bright, \u00adexpressive works by\u00a0Egyptian \u00adartist Fathi Hassan, who\u00a0\u2013 though he appeared in the \u00adVenice \u00adBiennale in 1988\u00a0\u2013 is \u00adlittle-known in […]<\/p>\n

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