<p><span style=""></span></p><p><span style=""></span></p><p>The French-Algerian artist has embarked on a long-term project with the Théâtre de Gennevilliers, near Paris</p>

Delphine Roche

Mohamed Bourouissa heads to the theatre

<p>In collaboration with <em>Numéro art</em></p><p>Mohamed Bourouissa questions the respective spaces given to dominant and dominated social groups, both in globalized market exchanges and in mass media representations. The 40-something star of contemporary art, who is represented by&nbsp;<a href="https://www.artbasel.com/catalog/gallery/1215/kamel-mennour">kamel mennour</a> and whose work is exhibited in major museums around the world, is also renowned for his music. He has recently been invited by the Théâtre de Gennevilliers near Paris to take over the space for the next three years with cross-disciplinary projects combining exhibitions and concerts.<strong></strong></p><p><strong></strong></p><p>In the age of ‘inclusiveness’, which often serves as a tool to jockey for space in the market or improve one’s image under the guise of ethical concerns, it is worth examining Bourouissa’s work and vision in order to shed light on the real and profound issues at stake when using that word. Born in Blida, Algeria in 1978 and raised in France in Courbevoie, Hauts-de-Seine, the artist studied at the École Nationale Supérieure des Arts Décoratifs in Paris and at Le Fresnoy in Tourcoing, France.</p>

<p>Would he like to expand his business in Paris? It is already the case, he says, by way of off-site exhibitions, such as the Carla Accardi show organized at Le Corbusier’s jewel of a building, Maison La Roche, for the first edition of Paris + par Art Basel. He plans to pursue other exceptional projects like this ‘fine example of how art dialogues with architecture.’ This is without doubt one of his mantras – the white cube is not really for him. ‘Architecture is one of the key elements of our activity.’ </p><p>In each city where he has installed a gallery, De Carlo has selected sites charged with soul. Since 2019, his gallery in Milan has been located in the Casa Corbellini-Wassermann, an icon of 1930s architecture, replete with marble and woodwork. ‘We’ve had it with the cliché of the minimalist space, where the art is supposed to be the sole actor,’ he affirms. In London, he has just restored a Mayfair apartment whose walls he painted a luminous sea-green – the original color dating back to 1723, unearthed in poor condition. ‘Maybe it’s too green? In any case, we’re happy we did it! Our artists adore this kind of context, and that’s all that matters.’</p><hr /><p>Emmanuelle Lequeux is a journalist based in Paris.</p><p><a href="https://www.artbasel.com/catalog/gallery/1104/Massimo-De-Carlo">Massimo De Carlo</a> will be part of the&nbsp;Galleries and Kabinett sectors in the upcoming edition of Art Basel Miami&nbsp;Beach,&nbsp;from December 1 – 3, 2022.</p><p>Caption for full-bleed images:&nbsp;Massimo De Carlo by Bettina Pittaluga for Paris+ par Art Basel, 2022.</p><p>English translation: Jacob Bromberg</p>

<p>In addition to photography, Bourouissa also expresses himself through other media, such as drawing, sculpture, video, installations, and more recently, music and sound design. He was nominated for the Prix Marcel Duchamp in 2018, and his artworks are displayed in the collections of important museums like Los Angeles County Museum of Art, the Stedelijk Museum, Amsterdam, and both the Centre Pompidou and the Musée d’Art Moderne in Paris. Bourouissa’s art implies renegotiating and rethinking the respective positions taken by the artist and his ‘subjects’ in each new project, whether that is the video <em style="background-color: initial;">Temps mort </em>(2009), made with inmates of a penitentiary in order to document their daily lives, his video <em style="background-color: initial;">Horse Day </em>(2014–2015), which includes the African American riders of the Fletcher Street Urban Riding Club in Philadelphia, or with the community in Gennevilliers, where he lives. Distrustful of vertical relationships, the curbing of speech, and the authority that is immediately granted to any artist expressing themselves within ‘legitimate’ culture, the Franco-Algerian is more inclined to collaborate with people after spending a long immersion period with them, than to impose his own discourse.</p>

<p>As a guest artist at the Théâtre de Gennevilliers, he has exhibited his photographs there and invited local musicians and rappers to take part in several events. ‘It’s important for me to remain close to the people. My art is conceptual, but it is grafted onto many contexts. I build long-term relationships with my collaborators over time.’ Resistant to any kind of demagogy or simplification, the artist formulates complex questions, especially on the status of plants, that he translates into music. His research on plants and their electrical activity is part of a thought process on the fate of all living organisms within a system of globalized commercial exchanges: ‘In order to understand globalization, which implies the idea of land appropriation, we must take colonization into account. The colonial issue is very much present, but my work goes well beyond that.’ Mohamed Bourouissa practices the art of nuance – a quality that makes his work crucial right now.</p><p>This article is part of a yearlong collaboration between Paris+ par Art Basel and Numéro art. Click&nbsp;<a href="https://www.numero.com/fr/art/mohamed-bourouissa-galerie-kamel-mennour-theatre-gennevilliers">here</a> for the original article.</p>

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The French-Algerian artist has embarked on a long-term project with the Théâtre de Gennevilliers, near Paris

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