Aiman Hassani

17.11.25 19.12.25

Aiman Hassani is an interdisciplinary Dutch-Moroccan maker whose practice explores the unseen and often unrecognized potential of human experience through endurance-based methodologies, material layering, and process-driven research. His work spans visual arts, conceptual inquiry, films, and interdisciplinary making, with a sustained interest in repetition, persistence, and transformation centering on visibility, narrative authorship, and under recognized perspectives.

Beyond his artistic output, Aiman leads PlusWhat, a hybrid talent program that guides emerging creators from non-institutional communities through fast-paced audiovisual productions, emphasizing co-creation, experimentation, and narrative agency.

Hassani´s work has received multiple awards and international recognition, including selection as the Dutch submission for the International Emmy Awards with his film Khata. He has also served as a juror, contributing to the evaluation and selection of emerging artistic voices.

STATEMENT

The proposal for this residency explores unseen psychological and environmental forces that shape human identity through endurance-based actions, repetition, and material traces. Drawing from urban walks, field recordings, and collected materials in Buenos Aires, it examines how hidden structures influence self-perception, movement, and social patterns.

Through processes of layering, erasure, and repetitive mark-making—including monotypes over digitally printed analog photographs—the work visualizes cycles of effort, decay, and transformation, reflecting on what persistence reveals and what remains invisible despite continuous effort.

BIO
Aiman Hassani
1988, The Netherlands
Lives and works in Utrecht, The Netherlands

EDUCATION / TALENT DEVELOPMENT
2024 |Berlinale Talents, Berlin; Go Short Film Festival Intervision Traject.
2023 | Individual Script Training, Sytske Kok
2022 | Robert McKee Seminar Week, London; Save the Cat Masterclasses, John Yearly
2020-2021 | Mentorship, Dutch Directors Guild (DDG)
2020 |IDFAcademy; Talent en Route, Netherlands Film Festival; Next | Docu, Talenthub Brabant

Related Activities

´aceNITE, Encounters, Exhibitions, Open Studio, Carapantallas

Living Archives
Artist in Dialogue

17.12.25 18.01.26

We closed 2025—a milestone year marking Proyecto´ace’s 20th anniversary—by opening our house through exhibitions, interventions, and open studios. These activities convened a range of artistic practices driven by a shared concern: understanding the body, territory, and matter as living archives, where experience, memory, and transformation take shape.

In this context, ´ace functioned as both a container and a site of resonance for textile, graphic, bodily, architectural, and relational practices, approached as fluid languages rather than fixed categories and without hierarchical distinctions.

Across chromatic research using natural dyes, the body embedded in worn and broken urban surfaces, where friction becomes a site of material memory, fragmentary photographic archives, sensitive geological mappings, and collaborative audiovisual and performative practices, the works explored different ways in which memory is recorded and transmitted. Memory emerges here as an unstable terrain—formed over time, subject to loss and reconfiguration, and continually reshaped through material, affective, and situated gestures.

As both a year-end conclusion and a celebration of two decades of work, this ´aceNITE operated as a collective gesture, reaffirming Proyecto´ace as a space where artistic practices are developed in relation to one another, in friction with their context, and in ongoing dialogue between bodies, territories, and forms of knowledge—understanding art as a mode of embodied and shared inquiry.

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Wednesday, December 17th, 2025
7 PM to 10 PM
Vin d’honneur

Exhibitions

Friction Layers
Aiman Hassani

17.12.25 31.12.25

This work maps the friction between my skin and the fractured surfaces of Buenos Aires. From the worn tiles of Constitución to the cracked pavements near Once, I collect the city’s damage: an involuntary writing engraved on its skin. I link these urban textures with microscopic images of my own skin, tracing a shared vocabulary of pressure, memory, and resistance. The grid becomes a site of tension, not order: lines bend, hesitate, scar. They signal not decoration, but resistance.

Overlaying print, glass, video, and gesture, the work asks: what does skin remember that concrete forgets? What remains after contact, weight, or disappearance?

In the video component, I traverse my own skin through the rhythm of Argentine tango and the ambient noise of the city. The camera moves in rhythmic jerks, from one fragment of skin to another, guided by sound rather than spectacle. Here, the skin is not a dancer, but a landscape: filmed microscopically, fragment by fragment, it becomes a sensitive terrain. The rhythm does not arise from the bodily performance, but from the moving gaze: through, around, and in between. The tango and urban sounds do not accompany a dance; they structure a way of looking, of feeling, of returning. Each medium carries its own friction: between body and structure, surface and imprint, imposed rhythm and embodied temporality.

Technique: Analog photography, monotype on digitally printed analogical photographies, single-channel video, camera-based performance
Materials: Canson Infinity Etching Rug 310g

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