The images in Mohamed Bourouissa’s photography collection “Périphérique” showcase the simmering tensions between the French state and the suburban working class.
Upon returning to Paris in the aftermath of the riots, Bourouissa began spending time in thewith friends, who introduced him to more people who lived there. He eventually conscripted these figures, mostly men from immigrant backgrounds, as subjects for a series of staged photographs composed in the tradition of, or living pictures—an uncanny arrangement that places ordinary people in relief against their normal environments, to an intimate yet estranging effect.
Made between 2005 and 2008, “Périphérique” was Bourouissa’s rejoinder to the sensationalist and sociological representation of thein the mainstream media of early-two-thousands France. Here, the gritty surroundings of theprovide a stage for his artful dramatizations of everyday life, in which mundane conversations, gatherings, and interactions are heightened to striking effect.
. “I wanted to bring it into another aesthetic dimension. For me, this dimension, this beauty, can be totally subversive.”His motivation was, at least in part, personal. Born in the Algerian city of Blida in 1978, Bourouissa moved to France at the age of five with his mother and grew up in Courbevoie, on the northwest fringes of Paris. He demonstrated a knack for art at a young age, and by the time he was twenty was studying the Old Masters at the Sorbonne.
,” completed between 2003 and 2005. Bourouissa’s understanding of fashion as a form of conspicuous consumption and a means of claiming identity is apparent here, and would shape his approach to his later work.From the “Halles” project, Bourouissa learned the art that he wished to create required patience, time, and trust.
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