Ânes-situ, 2013

See this collection


Inter-Version, 2010

In Inter-Version, Hicham Benohoud developps with this self-portraits his exploration of the concepts of identity and individuality. But this time, he gives up with the precarious settings with strings and cardboard and use digital retouch.

See this collection


Azemmour, 2007

This series results from of a public commission and was initially supposed to take part in the valorization of Azemmour, a little-known heritage city in Morocco. Hicham Benohoud preferred to created a tight relation with children left to their own devices, and victims of social and cultural inequalities. In the way of flattering portrait, Hicham Benohoud here gives a critical look upon the sacrificed youth of Azemmour.

See this collection


Kinshasa, 2007

This series, shot in the framework of an artist residency in Kinshasa, and portraying young Congolese is particularly violent. Hicham Benohoud was indeed strongly struck by poverty and by the climate that followed the election of Joseph Kabila, namely a climate of political and social tensions. The close-shot and large-formatted faces, striated and distorted by tight threads, evidence the daily violence and the disappointed hopes of this youth.

See this collection


30 Familles, 2005

«The members of thirty families from the 19th arrondissement in Paris have accepted to pose for Hicham Benohoud, despite the fact that he did not know them, and that he was only going to see them once. Within places he was only just beginning to discover, he acted as a stage director, the actors having accepted to play along and endorse the most eccentric set-ups produced by the photographer’s imagination. Despite the awkwardness of the situations thus created, one may remain disturbed by the power displayed by the artist over his models.»
Christian Caujolle

See this collection


Half couple, 2004

As a continuation of the close shots of the artist’s face in the series Version soft, Half couple is a series of full-length self-portraits in a neutral space where the artist’s naked body is altered by materials stuck on his skin or covering his face. The artist asserts his identity in a holistic Arabo-Muslim culture where the individual fades into the collective. The question of individuality is, in this respect, reinforced by the title of the series which takes back to the status of the spouse in a couple.

See this collection


Version soft, 2003

«Navigating between mystery and pain, the tortured, strange, bizarre ‘self-portraits’ are also his way of expressing the fact that he doesn’t only ‘take’ the other’s image. He poses himself as a victim – or an actor – of his own image, out of respect for the other.»

Christian Caujolle

See this collection


La Salle de classe, 1994-2002

«In the classroom where he used to give drawing lessons, in Marrakech, (Hicham Benohoud) captured his pupils, inventing strange situations whose accumulation imposes an anguished atmosphere. Faces disappearing, cardboard prosthetics, bodies becoming monstruosities in their kraft paper coating, groups locked up in sellotape prisons, all of it overhung by an obsessive lamp, a burdensome universe. Even more disturbing considering the fact that, whilst these aberrations that obey the only rule of introducing no outside element or object into the learning area, move into the classroom, the other pupils quietly continue to draw.»

Christian Caujolle

See this collection