Na vrh brda vrba mrda
At the Top of the Hill, the Tree moves

14 March - 30 April 2021

Frédérick Mouraux Gallery is pleased to present a successful collection of works by Bosnian artist Kenan Hasimbegovic for his first solo exhibition in Brussels.

Kenan Hasimbegovic studied Fine Arts in Bosnia at the Academy of Fine Arts in Sarajevo. He has been living in Antwerp for the past 10 years. He works and exhibits in Belgium.

Some artists know how to make us travel in an intimate world; a world that we once thought was forgotten, a world of rediscovered moments.

Kenan Hasimbegovic plunges us into his childhood. He takes us to a world that we are all familiar with. A world of innocence, and fond childhood memories.

Frédérick Mouraux has chosen to show us paintings on canvas and works on paper, collages, and mixed media, with light yet vivid colors.

With each painting, we leave the present time and enter a state of childhood. The works reveal fragments of our memories that resonate with the happy moments of the artist’s family life in Bosnia. These small pieces of life painted in bright colors rejoice our hearts and fill us with joy.

We become witnesses of his memories. His works of art are windows opening onto a world of tenderness. The female presence is significant. We feel the presence of loving and cheerful women from several generations, grandmothers, mothers, sisters…

Time passes slowly, calmly, to the rhythm of needlework and the rhythm of daily tasks.

These paintings know how to intrigue us, to challenge us, and to recall our own memories. One of the artist’s strengths is to reveal with great modesty that some childhood happiness is prevalent throughout one’s lifetime.

This tall and wise artist is particularly touching. His talent is expressed by bright colors, without any aggressiveness. His creations of snapshots of life are filled with the poetry of life.

Frédérick Mouraux

Kenan Hasimbegovic, Untitled, 2020 © KH

His aesthetic derived from the very core of postmodernism, KH simultaneously explores new domains of existence and functionality of depiction, which coincides with the incursion into the realm of imagination and mythology.
His subjective experience is thus transformed through perceived, almost lyrical visuals into identities of both Subject and Object.
This manner of spatial/visual cognition is an interpretation of geometric as well as unreal structures and forms, constituting an aesthetic misunderstanding with Realism. It is a message by no means powerless in the wake of minimal and conceptual art.
Such artistry bears individually psychological, but also sociological consequences and meanings.
In terms of artistic quality, a clear expression takes place, free of the notion of imagism-imposed narratives, making a spontaneous mark on the observer, primarily through believability of color and line, moreover with love and respect.

Drago Cingel, Kunst Theoretiker Ulm, Germany, 2017.