HASSAN ALI AHMED AND THE MAGIC OF THE HIDDEN NUBIANISM (2024)

An article by Hassan Musa, Published in THE MUSE MAGAZINE (November, 2024)

" Two decades ago, I wrote an introduction about the work of my friend, the artist Hassan Ali Ahmed. I'm sharing a brief excerpt of that text to highlight a lesser-known facet of Hassan's many creative faces—I mean, the face of a children's book illustrator. The renowned artist Hassan, who exhibits in major cities worldwide, overshadows Hassan, the children's book illustrator, with the patience and dedication to work with simple materials—inks, paper, and scraper-board—to craft a visual narrative that complements the literary story. "

POLITICAL CARTOONS (2021)

Hassan Musa has always been very active and involved regarding the commentary of the Sudanese political situation. He did so through discussions and forums, but also through his political cartoon work, from the 1970's until today.

"I started drawing cartoons in my youth. High schools in Sudan had « wall newspapers », and as a student, I was allowed to draw my first cartoons. They were often about teachers and daily life concerns, but growing up and following the work of Egyptian cartoonist in the press, they became more incisive and discussed political and social issues in Sudan."

WHO CURATES THE CURATORS (2020)

Curating the truth - By Hassan Musa 

" Back in 2010, two young American curators,Till Fellrath and Sam Bardaouil, invited me to participate to an exhibition project in « Mathaf », the museum of Doha (Qatar).

Following this invitation to create an artwork, I proposed an art installation work around the backstory of Scheherazade, denouncing the conditions of women in Arab countries. To my surprise, my work project was rejected and a new orientation was suggested. [...] "

Here is a piece of Hassan Musa's reflection on the role of curators in the art world today.

DANGER OF SEEING (2020)

« What makes one image more dangerous than another? Is it the way we see the image or is it the way we use it? » 

The 19th century Romanticism celebrated the artist as a sacred figure, a Prophet or a Demiurge. Maybe this is why we expect artists to be naturally good, compassionate, progressist and even revolutionary. So, don’t worry if you feel disappointed when discovering the dark side of artists we admire. Artists, like everybody else, are ordinary and extraordinary at the same time...

BANANA ALLEGORY (2006)

"I see Josephine Baker as an American choreographer (translate : European choreographer), who managed to build a remarkable whole repertoire of primitivist choreography. Choreographies that she presented, on European stages, as “ African ” dance. But Josephine Baker was not only a choreographer, she was also a black American who found refuge in Europe after having experienced the misery and brutality of American racism at the beginning of the 20th century." 

This is an excerpts of the correspondance between Hassan Musa and Kerstin Pinther for the catalog of the “ Black Paris ” exhibition (Bayreuth, Frankfurt and Brussels, 2006-2008).