Mousa Sarr's work does not beat about the bush: his videos are based on a direct confrontation. With wit and a good measure of self-mockery, he films himself in sequence shots in the process of undertaking more or less lengthy actions. This way of imposing his image and getting straight into a face-to-face encounter with the spectator seems to respond to the desire to question, and posit his presence as a problematic factor. The fact is that the political issues which inform the whole of Moussa Sarr's work are rooted in the archetypal idea of the stranger or foreigner whom he incarnates against his will. The outcome is thus an oeuvre like an assertion manipulating the symbols and narratives of a nation, the better to call them into question. Moussa Sarr's sculptures also play with this relativity of viewpoints. Like hybrid objects, they invent an elsewhere at the crossroads of various worlds, and experience the difficulty of existing somewhere.
Biographical notes translated with the support of the Centre national des arts plastiques - Cnap.