Mohamed Bourouissa | the artist




The artist Mohamed Bourouissa
Born 1978, Blida, Algeria.
Lives and works in Paris, France.

Style and technique of the artist: Photography, Venice Biennale,


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Mohamed Bourouissa
Throughout Bourouissa’s work, each strategically crafted mise-en-scène is comprised of tight formal compositions reinforced by the rhythmic exchange of gazes and halted gestures. These works seem to capture a series of snapshots of everyday existence in the banlieues where the artist himself was raised. His subjects are both cropped and strategically positioned, implying a sense of documentary truth, through sensations of proximity, fluidity and spontaneity. As seen in such charged works as La Fenêtre (2005) and Sans titre (metro) (2007), these photographs convey a sense of disturbing tension and latent violence––his subjects gesture urgently with open hands and their expressions carry a grim disillusionment. Within each scene, faces are always partially obscured and bodies are turned away; we never catch a full glimpse of any of these protagonists. The obstruction of our field of vision through the artist’s carefully orchestrated compositions prevents the viewer from identifying with any one ‘character’ or subject. Yet, Bourouissa’s work is less about portraying a particular subjectivity and rather about generating a certain dramatized aura, transforming the specificity of these charged settings into constructs that can be manipulated and controlled. His photographs are like captured film stills, appearing as fragments of a larger narrative, both enigmatic and incomplete…

Mohamed Bourouissa
Mohamed Bourouissa (b.1978) in Blida, Algeria currently lives and works in Paris. He graduated from the Ecole Nationale Superieure des Arts Decoratifs de Paris. Bourouissa’s work can be described as staged documentary and explores the moments of tension and power relationships that exist in les banlieues (ghetto) regions of Paris…

Mohamed Bourouissa
Bourouissa draws out intense, yet often ambiguous expression from his models’ faces and bodies; an effect enhanced by the way in which other parts of his images are frequently blurred, drawing you to focal points of tension. The night-time scuffle in La Republique/The Republic (2006) takes on the quality of an epic battle scene. In La Main/The Hand (2006), the sideways glances between two boys and a girl lounging on a bed drinking vodka suggest a brewing jealousy drama of Shakespearean proportions…



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