Not to Represent, But to Resist: Mohamed Bourouissa Against the Visual Grain

This thesis investigates the evolving role of photographer Mohamed Bourouissa (born 1978) across three of his key photo series, Périphérique (2005-2008), Temps Mort (2008-2009), and Shoplifters (2014), and how these shifts in authorship impact the visual representation of marginalized communities. Using an interdisciplinary approach that combines sociology, photography theory, museum studies, and ethics, it shows how Bourouissa positions himself respectively as a director, facilitator, and editor. Rather than aiming for perfect shots, Bourouissa deliberately refuses visual spectacle to highlight the ordinary and everyday presence of his subjects, often racialized and socially excluded groups, and thereby resists dominant representational conventions. His work focuses on visual ambiguity rather than clarity. Drawing on Tina Campt’s concept of a ‘Black Gaze’, this thesis shows how Bourouissa disrupts the viewer’s position by denying immediate recognition and forcing critical...Show moreThis thesis investigates the evolving role of photographer Mohamed Bourouissa (born 1978) across three of his key photo series, Périphérique (2005-2008), Temps Mort (2008-2009), and Shoplifters (2014), and how these shifts in authorship impact the visual representation of marginalized communities. Using an interdisciplinary approach that combines sociology, photography theory, museum studies, and ethics, it shows how Bourouissa positions himself respectively as a director, facilitator, and editor. Rather than aiming for perfect shots, Bourouissa deliberately refuses visual spectacle to highlight the ordinary and everyday presence of his subjects, often racialized and socially excluded groups, and thereby resists dominant representational conventions. His work focuses on visual ambiguity rather than clarity. Drawing on Tina Campt’s concept of a ‘Black Gaze’, this thesis shows how Bourouissa disrupts the viewer’s position by denying immediate recognition and forcing critical engagement. In doing so, he reframes photographic authorship as an act of resistance.Show less

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Not to Represent, But to Resist: Mohamed Bourouissa Against the Visual Grain