Toulu Hassani
Toulu Hassani, born in 1984 in Ahwaz, Iran, lives and works in Hannover. For more information, visit the artist's website.
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In one sentence: What is Concrete Art for me?
Concrete Art is, as I understand it, nonobjective art that wants to signify nothing other than itself and be free of intuitive or emotional expression.
Do I see myself as a representative of Concrete Art?
There are definitely many formal overlaps. However, my approach is different. It is important to me to make intuitive decisions while painting and to find images that can be read and experienced broadly and associatively.
Who is my favorite artist in the field of Concrete Art? Which position in Concrete Art was particularly formative or impressive for me? Which pioneers of Concrete Art do I see as role models?
I have no role models in Concrete Art. In general, I would never speak of role models, but rather of artists who impress me and trigger something in me, who touch me. Of the representatives of Concrete Art, I find Hans Arp the most interesting. I am particularly inspired by his reliefs and his approach to how painting can leave the canvas.
What was my first contact with Concrete Art?
Probably the paintings of Malevich. But also the works of Hans Arp in the Sprengel Museum in Hanover very early on.
Have the early days of Concrete Art had a direct influence on my own work as an artist?
In an indirect sense. I think the artists of Concrete Art had a great influence on the development of art and therefore certainly opened up a lot and expanded our view on art in the last century. In this respect, it has definitely influenced me as an artist. However, it is more the works of subsequent generations such as Sol Lewitt, Robert Ryman, Agnes Martin and Bridget Riley that have left a lasting impression on me. But also artists who work figuratively. I am not fixated on non-objective art.
Which principles of Concrete Art have shaped my artistic approach most?
Presumably the precision. And how color and form together can trigger a visually sensual stimulus. Detached from anything referential. At least that's the case in the majority of my paintings.
Color, form, or line? Which fundamental form of artistic expression from Concrete Art is most important to me?
All three components are formal means in my painting. However, I see them more as the outer shape of the image.
The manifestos of the pioneers of Concrete Art are for me
- Long-since outdated
- As valid as ever today
- Much too dogmatic
- Of no relevance at all
- Pioneering for their time
- Still a source of inspiration
- Not radical enough
- Other assessments: x
From today's perspective, the manifestos of the pioneers of Concrete Art are both dogmatic and outdated. The belief in progress and the desire for clarity that underpinned the manifestos has not really made our world a better place in recent decades. I think we have reached a point where we need to question how and by what (technological) means we want to continue shaping the future. Pausing, rethinking and, above all, recognising that unambiguity is no longer an option in a globalised, highly complex world are more important to me. As far as art is concerned, I see it as much more open and multi-faceted. For me, there is not one truthful art form / direction that needs a manifesto.
On the hundredth anniversary: Where do I see Concrete Art in another hundred years?
- The movement within fine art that sets the tone
- No longer recognizable as a clearly distinguishable art movement of its own
- Still of great importance
- In forms and media that cannot be predicted yet
- Other assessments: x
As I have already explained, I think that Concrete Art has had and continues to have a great influence on the development of art. But I believe much more that the various disciplines and styles develop with and into each other. Concrete Art, I imagine, can no more resist entropy than anything else.
And? Is the term Concrete Art still necessary (at all)?
I think there are so many directions and ideas of understanding art that I see art above all as something very open and free. Art in particular bears the fantastic possibility of bringing many things together at the same time and not having to be unambiguous.
Translated from German.