Sex, desires and politics: such were the pillars of a moral revolution which, in the 1970s, would connect the body live to the social issue. In challenging the virile image of the virtuoso demiurge artist, Soufiane Ababri’s minority forms update the spirit, in a gentle form of critical «intersectionality,» which jointly addresses post-colonial, queer and, in the broad sense, counter-cultural matters. it is not the intent of this contextual work to talk about and broach these questions head-on, preferring to propose a set of signs for them. 

Because the history of universal domination often leaves clandestine marks on reality, the artist will re-insert other marks in this flux. The chosen means are deliberately rudimentary: appropriations, re-framed and hijacked images found on the internet, drawings (Bed works executed in a prone position) and performances made for photographs. Transitive gestures rather than definite positions. Well below the ethereal spheres of transcendent inspiration, Soufiane Ababri’s art has both feet in reality: non-heroic snapshots of life rub shoulders with referents to art and film history, in a kind of amateur date base shared live. 

Non-heroic visions, to be sure, but not non-erotic. His renderings of observations are invariably discreetly transformed by fantasy and desire, as if he were contrasting a trivialization of sex with a sexualization of triviality.  in a deeper sense, this de-hierarchization of subjects and styles alike points to a strategy of struggle against normative violence by way of  alternative labour economies. An intimate scale of the political that links up with Erin Manning’s(1) theories to do with the «minor gesture»: in praise of the minor, imperceptible and apparently derisory movement, which results neither from voluntarism nor totally from chance, nor really from intention or reflex, or a bit of all the above, but ending up by being the person who determines history. 

(1) - Erin Manning, The Minor Gesture, Duke University Press,2016 

Guillaume Désanges    

Born in 1985, Rabat, Morocco
Lives and works between Paris and Tangier


2010: Licence at l’École Supérieure des Beaux Arts de Montpellier, France

2014: Master II at l’École Nationale Supérieure des Arts Décoratifs, Paris
2016-2017: Post-Diploma at École Supérieure des beaux arts, Lyon France

Solo Exhibitions:

2015:  "what’s the name of this nation", Le Cube independent art Room, curating, Karima Boudou, Rabat, Morocco
2017 : "Oh please! don't be angry! it's based on emotional facts" Eternal Network, Tours, France.

Selected group exhibitions:

2013:  "Ce lieu n’est pas la maison de Descartes", curating Karima Boudou, Institut Français Amsterdam.
2013:  "The Dorian’s Room at Babel North", Galerie Mfc Michèle Didier Paris,
2014:  "You can delete any comment that you create", curating Karima Boudou, Brussels. 

2015 : "Chercher le garçon", MAC/VAL curating Frank Lamy.
2015 : "Recto/Verso", Fondation Louis Vuitton.
2015 : "I’m Burning Paris", curating Stanisław Ruksza, cité internationale des arts Paris

2017: 62éme salon de Montrouge, Montrouge, France
2017: "Tous des sang-mêlés" MAC/VAL, Vitry, France

2017:  Clinicat Régina, Mexico, Mexique
2017: Traversées rem@rde, curating Julie Crenn, Bourges, France.
2017: Productive contradictions, curating François Piron, Lyon France.


2015 : Betonsalon centre d’art et de recherches / "Les tentatives invérifiables de rentrer dans l’Histoire".
2015 : Talk with Virginie Bobin, «Boys don’t cry», Mac/Val Paris,
2015 : Workshop at Quimper art school, Quimlper, France

2015 : Hospitalité, Bétonsalon & Macval.
2016 : member of jury DNSEP at l’ISBA, Besançon.

2016 : intervention at university François Rabelais, Tours. 
2017: «Replay» sur les usages de l’archive dans l’art, Archives nationales, PAris


2015-2016 : cité internationale des arts de Paris, France

2016-2017 : Post-Diploma at École Supérieure des Beaux Arts, Lyon

Bed work 
Drawing, colored pencils 

Scenography with 6 drawings and a painting on the wall. 
"From Felix to Ross” is a proposal which attempt to rethink the approach of several artists of the 1980s suffering from AIDS mostly dead, as well as the aesthetics generated from the disease.
How do prevention, the legacy of this time, the return of bareback sex with the appearance of PrEP reformulate and produce another discourse and continuity? The idea of ​​a generation and a community of artists, haunted by a certain history which gives them the opportunity to see the official history with a different look by producing a rereading of the world, is what is highlighted in this proposal.
In this scenography the love letter sent by Felix Gonzalez Torres to his lover Ross echoing the perfect lovers piece and the upcoming death is divided at the level of the clocks..

Bed work 
Drawing, colored pencils 

Homodiscothecus is a scenography which takes as a starting point Guillaume Dustan's novel « je sors ce soir" (1997). The scenography includes around thirty drawings displayed on walls acting as the reconstruction of a sex club with a sound installation. The sound is a compilation of Dustan’s  music mixed with other sampled music played in clubs in France as well as from several political speeches. There is the possibility of walking around on both sides and discovering drawings as one goes by. On the walls one can see glory holes as well as names of artistic references mixed with people whom I know on an intimate level.

Bed work 
Drawing, colored pencils 

« Peuples érotiques peuples exotiques » is a scenography composed of twenty drawings displayed on a brightly painted wall depicting the shape of a factory. The scenography goes along with a performance. The project is realized in Douala in Cameroon around the colonialist exploitation in local French banana plantations. The drawings play on the confrontation between a superficial western eroticization of the banana and the deplorable proletarian reality at the location where bananas are harvested. The performance takes the form of a traditional dance highlighting the repetitive gestures of workers from the harvesting to the packaging processes, the performance concludes with the revolt of the workers against my own artistic production.

Bed work 
Drawing, colored pencils 

- «Oh please! don’t be angry! it’s based on emotional facts» is a scenography consisting of thirty drawings displayed in a labyrinth conceived for the exhibition. While walking in the exhibition space,we come across several glory holes and various references to some artists particularly chosen in the broader art historical narrative, among them are Felix Gonzalez-Torres, David Robilliard, Jean Genet, Keith Hharing, General Idea, Ray Johnson.

Bed work 
Drawing, colored pencils 


Link for other drawings :

Unverifiable attempt to go into the History / Missing the riffian 

Proposition pour le musée des arts et civilisation / les nouveaux masques  
(vue d'exposition)  
"Cherchez le Garçon"
Du 7 mars au 30 août 2015
Musée du MAC / VAL

Proposition pour un musée des arts et civilisations (les nouveaux masques) fait référence directement aux masques de cérémonies africaines, le lien est fait avec ces aplats de couleurs qui sont réalisés par les internautes sur les sites de rencontres gay pour cacher leur identité. Ce sont des hommes du continent africains dont j'ai capturé l'image sur le net (cela se voit sur les tirages, images dégradées) 

Les masques africains étaient utilisés dans les cérémonies (pour faire simple) pour régler un problème, le rituel était accompli pour éloigner un danger, un mauvais esprit, pour la fécondité, pour l'amour ... Dans les nouveaux masques le rituel est exécuté pour éviter et éloigner la discrimination et les conséquences graves que subissent les homosexuels dans ces pays (je parle toujours de géographie quand je parle d’Afrique donc moi aussi je suis africain). Le tout est "contextualisé" dans ce fond "de smileys" réalisés avec les mêmes couleurs que les aplats d'anonymats. (Il existe aussi une suite du travail où les aplats sont réalisés en objets, donc des formes arrondies minimales de couleurs)

Please stop this sun
Installation with poster, frame and skin lightening cream
91 x 61 cm

In Between gives context to the complexity of these relations and the ways artists are willing to risk crossing visible and invisible lines drawn by norms. Soufiane Ababri' s works attempt to highlight the process of loss of an authentic time and space for original ritual artefacts by studying classifications of some private collections of African art in Europe. Through the use of the document (exhibition catalogs, catalogs of auctions), there is a domination and violence at stake with the transformation of the perception of these artisans, manufacturers of objects; whose use according to their creations disappears in favor of a status symbol multiplied by the printing machines and technology. It’s just as if the institution’s secretary’s printer was stolen by the artist who made copies after copies of the archival image in question. In the exhibition space is presented a corpus of works in two acts. The first one refers to tradition and is composed of a group of black and white reproductions of a Dogon statue from Mali in West Africa, representing an ancestor. Some of these wooden sculptures were studied after ethnological missions in Mali mostly in the 1930s. The statue, originally symbolizing the protection of the ancestor, gets absorbed by this act of copying with machines, thus highlighting the inauthenticity of a visual recyclage that reminds us of folklore. There is a similar question at stake in the image of the revolutionary whose specificity gets absorbed by the massification of western culture. A bit further Soufiane Ababri is presenting a second act in reference to the figure of Malcolm X represented on a poster purchased on Ebay, that any teenager could hang in his bedroom next to his computer. Ababri partially shows the poster, hiding intentionally some of the potentialities of the hero's image. From the ritual purpose of African statues to their representation, is there a loss of the original at stake? This raises the question of a distinction between "nature" and "culture" which is also inherent in the Agency archive. Ababri seeks to parasitize the hegemony of these representations by allowing the visitor to doubt about what we see and thus escape any fixed form or pattern.