{"id":19333,"date":"2026-09-16T09:16:00","date_gmt":"2026-09-16T09:16:00","guid":{"rendered":"https:\/\/www.diptykmag.com\/hassan-darsi-i-like-it-when-art-is-authentic-and-true-to-scale\/"},"modified":"2026-10-12T14:39:18","modified_gmt":"2026-10-12T14:39:18","slug":"hassan-darsi-i-like-it-when-art-is-authentic-and-true-to-scale","status":"publish","type":"post","link":"https:\/\/www.diptykmag.com\/en\/hassan-darsi-i-like-it-when-art-is-authentic-and-true-to-scale\/","title":{"rendered":"Hassan Darsi: \u201cI Like It When Art Is Accurate and to Scale\u201d"},"content":{"rendered":"\t\t
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For more than thirty years, Hassan Darsi has been developing a practice in which art is never separate from the world it observes. A leading figure in the Moroccan contemporary art scene and <\/b>founder of La Source du Lion in Casablanca, he turns the city, its transformations, and its power dynamics into a field of experimentation. For his first <\/b>solo exhibition in France, \u201cPersistances,\u201d Diptyk spoke with the artist about <\/b>what persists in his practice: scale, paradox, and art\u2019s ability to shift <\/b>the viewer\u2019s perspective.<\/b><\/p>

Interview by Najat Saidi<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t

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Hassan Darsi, L\u2019Homme qui court III<\/i> (screenshot), 2026 | Filmed performance at the Salle d\u2019Asile, Mulhouse\u2014produced by La Kunsthalle Mulhouse \u00a9 Hassan Darsi, ADAGP<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t
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Why did you title your two-venue exhibition \u201cPersistances\u201d?<\/b><\/p>

We were talking with the three curators about our long-standing collaboration spanning more than twenty years, and the word came naturally from B\u00e9r\u00e9nice Saliou (co-curator of the exhibition, Ed.) and immediately stood out as the perfect title for the exhibition. There is persistence in friendship and in exchange, and I, too, am an artist who persists in forms and in ideas. I\u2019ll take something, reshape it, remake it, and revisit it until it\u2019s worn out. With each exercise, a form emerges like a piece of evidence.<\/p>

For more than thirty years, there has been persistence in each of my works and projects. My work with gold, for example, has been ongoing since 1999. I have used it to cover a tooth, a tank, a formwork that obscures a monument, a water basin, a pier out at sea… Another example is the video L\u2019Homme qui court<\/i> [The Running Man]\u2014it, too, is still running; I was running at age 40, and I\u2019m still running today.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t

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View of the exhibition \u201cPersistances,\u201d Hassan Darsi. Kunsthalle Mulhouse, 2026 | \u201cMartyrs,\u201d 2026\u2014MDF, gold paint \u00a9 ADAGP, Paris, 2026\u2014photo: Ang\u00e9lique Pichon <\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t
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You’ve been returning to the subject of gold for over twenty-five years. What fascinates you about this<\/b> material?<\/b><\/p>

The power of color, symbolism, and metaphor, and the allure that gold exerts on the world. Through this work, I shift the attributes of gold\u2014which fascinates us\u2014to transform it into an element that signals danger. Gold acts as a dividing line\u2014both fascinating and monstrous\u2014between two states of the world, serving as a revealer\u2026 For example, in Tenerife, the bodies of migrants regularly wash up on a pier that protects the beach where tourists come to relax. I covered the concrete cubes of this breakwater with gold adhesive tape; the gold blinds us and acts as a mirror, highlighting the contradictions. I like it when art is accurate and true to scale. <\/p>

This issue of scale is particularly evident in Le Projet de la maquette<\/i> [The Model Project] and Le Square d\u2019en bas<\/i> [The Square Below]. What does the model offer that a work of art, in the traditional sense, does not?<\/b><\/p>

In both cases\u2014the Hermitage Park and the L\u00e9gal Fr\u00e8res building\u2014it\u2019s, in a way, a return to a classic artistic practice: reproducing an object, a landscape, or a view. I used these two urban spaces to create, in a sense, two models. Their construction, which took time (two years for Le Projet de la maquette<\/i> and three for Le Square d\u2019en bas<\/i>) creates significant, shared moments for looking, observing, deciphering, measuring, and rendering reality on a given scale. It is this aesthetic, constructive, and participatory process that sparks a desire for art and gives it meaning.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t

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View of the exhibition \u201cPersistances,\u201d Hassan Darsi. The Kunsthalle Mulhouse, 2026 | \u201cLe square d\u2019en bas,\u201d 2017\u2014model, mixed media, 60 x 170 x 212 cm \u00a9 ADAGP, Paris, 2026\u2014photo: Ang\u00e9lique Pichon <\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t
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Your projects involve residents and various stakeholders in the city. What role <\/b>do you play as an artist?<\/b><\/p>

It is also\u2014and above all\u2014the urban space and its complexities that call on all of us to reflect on the places where we live. <\/p>

My projects explore and question the world I inhabit and navigate; I engage with it as an artist, and I have always made sure that my processes<\/i> are rigorous and do not veer into manipulation. I am an artist who speaks out, amplifies, denounces, erases, and superimposes my perspective\u2014like another tracing paper\u2014that interacts through transparency with those of others. Art makes this possible. The city is fertile ground for refining my perspective and my approach, my processes and tools\u2014all of which serve as exercises and explorations.<\/p>

Your works are never entirely demonstrative. In your opinion, should art<\/b> provide answers?<\/b><\/p>

Brel said of Brassens that he was someone who raised questions. For me, it\u2019s first and foremost about questioning, highlighting, expressing a feeling, evoking rather than stating\u2026 I like to blur the lines, to create areas of uncertainty. My work is never direct; I prefer to take a detour to make things visible. The forms and media I use are constantly being renewed and refined to be as accurate as possible, on the right scale, with persistence but also with poetry.<\/p>

\u201cPersistances,\u201d May 28\u2013October 25, 2026, FRAC Champagne-Ardenne, Reims.<\/b>\u201cPersistances,\u201d June 12\u2013October 25, 2026, Kunsthalle, Mulhouse.<\/b>Curated by Florence Renault-Darsi, B\u00e9r\u00e9nice Saliou, and Sandrine Wymann.<\/b><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t

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View of the exhibition \u201cPersistances,\u201d by Hassan Darsi. Kunsthalle Mulhouse, 2026 \u00a9 ADAGP, Paris, 2026 \u2013 photo: Ang\u00e9lique Pichon <\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t
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For more than thirty years, Hassan Darsi has been developing a practice in which art is never separate from the world it observes. A leading figure in the Moroccan contemporary art scene and founder of La Source du Lion in Casablanca, he turns the city, its transformations, and its power dynamics into a field of […]<\/p>\n","protected":false},"author":2,"featured_media":19334,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1598],"tags":[],"class_list":["post-19333","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-exhibition"],"yoast_head":"\nHassan Darsi: \u201cI Like It When Art Is Accurate and to Scale\u201d — Diptykmag<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.diptykmag.com\/en\/hassan-darsi-i-like-it-when-art-is-authentic-and-true-to-scale\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Hassan Darsi: \u201cI Like It When Art Is Accurate and to Scale\u201d — Diptykmag\" \/>\n<meta property=\"og:description\" content=\"For more than thirty years, Hassan Darsi has been developing a practice in which art is never separate from the world it observes. 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