Mohamed Bourouissa was born in 1978 in Blida, in Algeria. He now lives and works in Paris. After graduating in Visual Arts from the Sorbonne, Paris I (2004) and the photography department of the Ecole Nationale Supérieure des Arts Décoratifs de Paris, he trained at the Studio National des Arts – Le Fresnoy in 2008-2010. Mohamed Bourouissa has been developing a fine art photography practice but also creates drawings and video works deeply rooted in social reality. He usually works around representations of a contemporary urban environment. In his fictional documentary, the artist creates a gap where his sets and dialogues show his interest in geographical and social spaces usually seen by cliches and stereotypes.
Video festival Fairy Tales, 2015
Fairy Tales was a video art festival at the Plaza of the Museum of Contemporary Art, Taipei, Taiwan.
Lida Abdul, Afghanistan
Said Atabekov, Kazakhstan
Mohamed Bourouissa, Algeria
Chen Chieh-Jen, Taiwan
Cao Fei, China
Yang Fudong, China
Cyprien Gaillard, France
Dejan Kaludjerović, Yugoslavia
Mari Kim, South Korea
Kamin Lertchaiprasert, Thailand
Taus Makhacheva, Russia
Almagul Menlibayeva, Kazakhstan
Mariko Mori, Japan
Ahmet Ögüt, Turkey
Adrian Paci, Italy
Public Delivery, South Korea
Wang Qingsong, China
Walid Raad, Lebanon
Cheng Ran, China & Item Idem, France
Taps & Moses, Germany
Guido van der Werve, Netherlands
Erwin Wurm, Austria
Miao Xiaochun, China
Courtesy the artist and kamel mennour, Paris
Exhibited: La valeur du produit, 2013
A commercial featuring a man standing in a room, dressed in a suit, wearing a luxury brand name belt, scrolls patterns on a Powerpoint presentation. Confined in the dark lights of his office, the anonymous character is giving us a private marketing and economics lesson. How do we determine the price of goods? How do we keep customers? How do we increase performance and create value ? How do we earn a maximum in a short time with minimum risks?
These are the questions to which this unscrupulous commercial tells insightful answers. Mohamed Bourouissa points here money’s attractiveness and its power as an integrative model of success but also to a dichotomous scale in which money possesses force and violence, and is exclusive by nature.