Sans titre (Horse Day serie)
2017 - Drawing & Print (Drawing & Print)
35 x 43 cm
Mohamed Bourouissa
In his photographic series Périphérique (2005–2008), Mohamed Bourouissa used the composition of classical paintings to stage the portrait of friends and young people in the banlieue s (suburbs). He states “by deconstructing the clichés surrounding this subject, I deal with the problematic power struggle and its mechanics.” This series follows various themes explored throughout the work of Bourouissa. For Temps Morts, his first film, he depicted a yearlong series of mobile phone exchanges with someone in prison. Bourouissa made a contract with the participant – phone credit in exchange of his participation in the project. Since this piece, he has consistently mediated on notions of exchange and the economy in his work. For L’Utopie d’August Sander , he met a number of unemployed people in a job center and invited them to get scanned in a van. With a 3D printer, each scan was used to produce a figurine that would be sold at various flea markets.
Mohamed Bourouissa became known in the 2000s with a series of photographs on young people in the suburbs of Paris. His work later evolved into video, sculpture, and installation, but remained focused on issues related to immigration and the social-economic processes that lead to integration or exclusion. He describes contemporary society implicitly, by outlining its contours. With a critical take on the mass media image, the subjects of his photographs and videos are people left behind at the crossroads of integration and exclusion. Preceded by a long immersion phase, each of Mohamed Bourouissa’s projects builds a new enunciation situation.
Colors:
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