Il Cabbalista Painting

At the confluence of the two seas Martina Corgnati Old Masters Throughout his career in art, Ali Hassoun has made use of the work of other artists, revisited and often re-contextualized or, rather, “re-attributed” to African decorators and painters, or else appreciated, studied, and contrasted with figures and characters representing the contemporary Islamic world. In the Omaggi period (1999-2000) we find Picasso, Guttuso, Delacroix and, later on, Michelangelo and the Sistine frescoes, Lorenzetti’s Il Buon Governo, Raphael’s Stanze, and then Boccioni, Penck, Haring, Pistoletto’s Venere degli Stracci, De Chirico, Piero della Francesca and, indirectly, Caravaggio. In this calibrated yet eclectic use, Ali Hassoun shows himself to be a post-modern artist, a visual-culture “nomad”, in the sense Achille Bonito Oliva attributed to this word some years ago and which he has continued to update. History is there, and to think of superseding it within the frame of Modernism by now seems unrealistic and useless: it is better to re-appropriate it , re-experience it, even put it under strain or betray it. “The house of art is a fluctuating and nomadic place”, the critic has written. “The artist is a nomad, his language shows signs of being cultural uprooted: it is the synthesis of vertically stratified memories amplified horizontally. It is through language and dematerialized, vaporized, and impalpable material that the artist inhabits his territory.”9 9 A. Bonito Oliva, Eurasia, Dissolvenze geografiche dell’arte, exhibition catalogue, MART, Trento, 2008, Skira, Milan, 2008, p. 21.

Painting:Oil on Canvas

Original:One-of-a-kind Artwork

Size:59.1 W x 47.2 H x 1.6 D in

Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.