Exhibition Review: Hassan Hajjaj’s My Rockstars
Hassan Hajjaj, Alexander Nilere, 2013/1434 (Gregorian/Hijri), Metallic Lambda on 3mm Dibond in a Poplar Sprayed-White Frame with Green Tomato Squeezies, 55 1/2" x 40 1/2" x 4 1/4" (141 x 103 x 11 cm), © Hassan Hajjaj, Courtesy of Yossi Milo Gallery, New York
A lively celebration of culture, Hassan Hajjaj’s My Rockstars is a truly innovative exhibition, filled with fun, memorable works. Transforming the art gallery into a cultural cafe, My Rockstars is available at the Yossi Milo Gallery through May 29.
Each portrait in My Rockstars is vivid, the borders adorned with products typically found in Arabic markets, paying homage to the patterns typically found in Moroccan art. From tins of olives or tomatoes to pop cans and tea boxes, there’s no shortage of fun patterns, the bright colors and repetition reminiscent of pop art. In the center of each image lies an individual who has inspired Hajjaj, the subjects ranging from artists to political icons. Posed dynamically with loud clothes and patterned backgrounds, each subject seems ready to spring to life.
Hassan Hajjaj, Sarah Perles Gazin', 2015 / 1436 (Gregorian/Hijri), Metallic Lambda on Kodak Paper on 3mm Dibond in a Wood Sprayed-White Frame with Red Tomato Squeezies, 53 1/8" x 71" x 4 1/2" (180.5 x 135 x 11 cm), © Hassan Hajjaj, Courtesy of Yossi Milo Gallery, New York
Given the abundance of eye-catching patterns in My Rockstars, it comes as little surprise that some of the works begin to resemble optical illusions. The most powerful of these may be “Alo Wala Standin’,” in which Hajjaj photographs electronic band Alo Wala’s lead singer, Shivani Ahlowalia. As carefree as the band’s music, “Alo Wala Standin’” includes many different graphic patterns, from the circular motifs on Ahlowalia’s clothing, to the ornate green background, to the polka dots on the tea boxes encircling her portrait. The lines in the background are especially powerful, interacting with the circular motif and leading viewers’ eyes back and then upwards, creating a strong sense of depth within the image. Due to this intense depth, Ahlowalia appears to stand in a cut-out in the wall, rather than existing along a two-dimensional plane. Similar to the effects of a stereogram, the image appears to defy the realm of possibility.
Many of the images in My Rockstars incorporate a strong sense of movement, from “Rilene,” capturing a hand-stand, the pose reminiscent of breakdancing, to the background of “MissMe,” featuring lines which ebb and flow towards the center of the image, MissMe’s own body posed to mimic their curvature. But the most noteworthy invocation of movement may be in “Opal Tometi.” The portrait is filled with curves, from Tometi’s posing of her arms and the swooshes in her skirt to the intricate floral design behind her, wisps of red swirling around. The portrait is even encased by metallic tins whose reflections highlight their own curvature. As a result, it is difficult to focus on any one element of the photograph for long; the lines constantly draw viewers to a new focal point before repeating the cycle, hypnotizing viewers in their beautiful swirls.
Hassan Hajjaj, Acrobat, 2012/1433 (Gregorian/Hijri), Metallic Lambda on 3mm Dibond in a Poplar Sprayed-White Frame with Diva Green OIives Tins, 55 3/8" x 38 5/8" x 3 1/4" (140.5 x 98 x 8 cm), © Hassan Hajjaj, Courtesy of Yossi Milo Gallery, New York
In addition to the portraits, Hajjaj’s exhibition also includes several seats made from Coca Cola crates. Though cushions have been added on top for comfort, the seats are clearly repurposed boxes, the art’s practical nature highlighting Hajjaj’s down-to-earth, playful approach to art. By encouraging visitors to sit on the benches, Hajjaj not only allows viewers to interact with the exhibition but also creates a space where they can discuss the works with other patrons, promoting a delightfully unconventional exhibition experience and fostering a heightened sense of community.
