_TO_BE_GOOD__TO_BE_TRUE
Ibro Hasanovic
„I do not accept the idea of having a fixed position, the way I perceive myself is through my embarking upon endless new beginnings.“
My works occasionally emerge on the principle of brainstorming, while, at times, they emerge on the basis of my research work, by reading or watching films... and then they result in the form of short videos, performances, drawings, paintings and ultimately in the form of spatial installations. They deal with identity and/or critical views of art and of the history/theory of art.
As of lately, my work has been related to memory - both to my own and the collective memory. The basis of my research in the domain of memory may be found in the theoretical works of Giulio Camillo Delmini („Theatre of Memory“) and Frances A. Yates („The Art of Memory“), which I am trying to use as the starting point for my own artistic concepts. My idea is to tell, in a minimalist and simple way, the stories that can be read by observers both as biographical and engaged (historical, sociological, political and critical...). The concept of memory is somehow linked with utopia, which is an idea that somehow permeates my whole work.
Ibro Hasanovic
"Most important, perhaps, is the role 10m2 plays for next generation of emerging artists. "In the years during and directly after the war, artists followed a formula: irony plus shock. Their works were applauded by the international art community. Now artists are rediscovering things that they weren't able to explore before," says Ibro Hasanović. In his recent performance at 10m2, To be Good to be True, he took a soft pencil and, without picking up his hand, wrote these words on every inch of the gallery walls. He plays on our obsession with these superlatives, and the ways in which each viewer might fill in that blank (to be a good artist, a true artist. . . to be a good Muslim, a true Muslim). "
Molly Kleiman, ARTnet
"... Another standout, by Ibro Hasanovic, was "Fragmentation," a video that creates a mosaic of several people walking across the screen. The concept emerges from the unsettled situation in the Balkans, which can leave people in flux; sometimes with several home bases. Like a computer hard drive that has data scattered throughout, the artist experiences his life as fragments."
Peter Ferko, Artists Unite-New York
"[…] You've got to admire a curator who's willing to tear himself away from watching the World Cup to come and talk art. Such a curator is Seric Shoba, who met with us to discuss the show he's curated at White Box in Chelsea, titled "Permanent Presence." Peter Ferko has done a fantastic write-up of it, including some helpful historical background. I admire Shoba's approach, which focuses on coming up with realistic ideas for making things happen and seeing them through, initiating international relationships, and encouraging growth, both personal and expressive, in young artists. I found the group show, which included Bosnian, Korean, and American artists, to be a bit uneven, but there were some definite highlights, most notably the video pieces (my favorite being Ibro Hasanovic's "Fragmentation"). I found the hay scattered throughout the gallery distracted from the experience of the works, as much visually as aromatically. Shoba's ability to bring together artists and funding to make things like this show happen is extremely laudable, and I'm very much looking forward to whatever his next endeavor might be. […]"
Artists Unite-New York
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