reviews

Mohamed Bourouissa, The City, 2016, gelatin silver print, spray paint, and lacquer on car metal plate and car body parts, 691/4x983⁄8x113/4".

Mohamed Bourouissa

The Barnes Foundation

Mohamed Bourouissa, The City, 2016, gelatin silver print, spray paint, and lacquer on car metal plate and car body parts, 691/4x983⁄8x113/4".

Mohamed Bourouissa began his breakout series “Périphérique,” 2005–2009, after the riots that famously engulfed banlieues across France. Collaborating with friends and fellow inhabitants of the Paris suburbs he hails from, the artist created carefully staged tableaux vivants—borrowing compositional and lighting cues from paintings by the likes of Caravaggio, Delacroix, and Géricault—that captured eerie moments of undisclosed tension. By representing the viewpoint, lived experience, and urban milieu of the banlieues’ residents, Bourouissa’s depictions of and from the periphery did not alienate these people by objectifying them. In subsequent collaborations with marginalized communities and disenfranchised individuals, Bourouissa has continued to build and retain intimacy with his subjects, although his recent works, somewhat counterintuitively, rely on the latest photographic

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