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



Education:

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

Intervention/Workshops:

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
  

Résidences:

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

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

Publication:

2012 : Interview Karima Boudou. Ksat Magazine
2012 : Text by Yasmine Taskh
2013 : Revue WTNOTN n° 0 (what’s the name of this nation).