Cesar Chouraqui: Playing With Contrasts
César Chouraqui is an artist at the crossroads of multiple worlds, where music, imagery, and storytelling intertwine to form a unique and deeply personal universe. Versatile and daring, he embodies a new generation of multidisciplinary creators. Actor, director, photographer, producer, and musician, beyond these titles, he is above all a modern storyteller who fits into a tradition of visionaries that transcend artistic boundaries.
Born from a multicultural heritage, he has drawn on his roots to cultivate a particular sensitivity, allowing him to tell visual and sonic stories that resonate far beyond traditional frameworks. His work, influenced by cinema, photography, and music, revolves around universal and contemporary themes: the search for self, the exploration of emotions, technology, and the artist’s role in an ever-evolving world.
His approach to image and sound is instinctive and almost obsessive. Whether in his music videos or personal projects, he captures the essence of the moment, grasping the fleeting nature of time with disarming precision and accuracy. Passionate about black-and-white photography, he is equally fascinated by exploring vibrant color palettes, playing with contrasts to create visual universes that combine simplicity and depth. It’s not just the style that interests him, but the ability to convey raw and sincere emotion through each image and sound.
One of the most fascinating aspects of his career is his insatiable thirst for experimentation. Far from resting on his laurels, César Chouraqui continuously ventures into new artistic collaborations, seeking to push the boundaries of his art. His work with iconic figures from music, cinema, and fashion demonstrates his open-mindedness and his ability to immerse himself in projects that transcend simple conventions. His video “33 – Dax Remix,” directed with Philip Gay, exemplifies his desire to explore the unprecedented, blending classic photographic techniques with a contemporary and bold aesthetic.
What truly makes him unique, however, is his vision of the world. For Chouraqui, artistic creation is a means to question and reflect society while infusing it with a touch of dreamlike poetry. He juggles with the real and the symbolic, and his works often reveal a tension between the tangible and the intangible, between raw reality and a certain spiritual aspiration. His admiration for artists like Depeche Mode and photographer Anton Corbijn highlights the introspective and sometimes mystical dimension of his work.
In essence, César Chouraqui is more than just a multi-talented artist; he is an explorer of the human psyche, a bridge-builder between eras and disciplines, and a keen observer of both the beauty and chaos of the contemporary world. Through his creations, he invites us to look beyond appearances, to feel the depth of the moment, and to redefine what it means to be an artist today.
Instagram : @cesarchouraqui
Who are the photographers who inspire you:
César Chouraqui: The truth is, it took me a long time to build my photographic culture because I didn’t see it as a profession but more as a tool that helped me not to forget.
The first photographers who inspired me were those my mother told me about when I was young: Richard Avedon, Nan Goldin, Irving Penn, Anton Corbjin (whom I returned to a lot later as I built my little library of inspiration). As I grew older, I gravitated towards images that brought me a sense of soul-soothing, that connected with aspects of the earth’s and humanity’s history that I hadn’t had the chance to see, and that tapped into a more spiritual part of me that I desperately needed.
It was thanks to The Salt of the Earth that I discovered the work of Sebastiao Salgado, and every year for her birthday, I give my mother a new book of his because I’m obsessed with his work, and with the broad concept of what our planet really is.
Which image moved you the most ?
César Chouraqui: In high school, my history-geography teacher briefly mentioned the events that led to the “Tiananmen Square Massacre.” I remember she showed us Jeff Widener’s “Tank Man” to illustrate it. The image of a young man in a white shirt, bag in hand, standing before four tanks of the People’s Liberation Army. His body language struck me. Despite his bold action (the repression killed 15,000 people), he appeared like a calm trainer, facing four enormous beasts. The serenity confronting madness.
The image you wish you had taken?
César Chouraqui: That one.
The one that made you angry?
César Chouraqui: The photo of Kim Phuc by Nick Ut.
The quality necessary to be a good photographer?
César Chouraqui: Knowing what’s important. I work very differently in music and photography. Setting up a visual project has always taken me much longer because my goal is to immerse the viewer in the symbolism, I choose to highlight in the story I’m telling. Music is more vibrant. People feel what they want to feel; once it’s written, it no longer belongs to us. I’m currently working with the fashion house Balmain on music videos. It’s fascinating to see how the experience of putting a song into images affects those working on the project and the choices we must face to create a universe that works for everyone.
Which photo you think changed the world?
César Chouraqui: I imagine the photos of David Seymour (aka Chim), Henri Cartier Bresson, Lee Miller, Alfred Eisenstaedt must have changed the face of the world…
And which photo changed your world?
César Chouraqui: I wondered what the world was the first time someone showed me pictures of it.
The secret of the perfect image?
César Chouraqui: One that aims to teach.
What’s the last photo you took?
César Chouraqui: A photo of Khadija in her burqa. I was traveling in Kenya, wandering the streets, and she approached me after seeing my camera and said, “Take my photo, I just bought my outfit.” I took two pictures and left her with one. We talked about her children afterward; it was nice.
Your first camera?
César Chouraqui: I think it was the Nokia 7650.
What do you use today?
César Chouraqui: Right now, the Instax mini-40, in reaction to my music video projects, I’m experimenting with what I can do with less. It’s a camera of immediacy. Trying to find a form of spontaneity that, as I mentioned before, comes more naturally when composing. And it’s fun to leave someone a Polaroid on the street every now and then.
How do you choose your projects?
César Chouraqui: I come from a background where you don’t always have the freedom to choose (acting). But over time, I’ve learned that a lot loses value if it’s only driven by interests. Therefore, I prioritize instinct over deliberation. It’s a challenging exercise because instinct is very personal; everyone has their own sensitivity, and it’s not uncommon for others to try to steer you differently when they don’t understand your vision. Often, the most promising ideas seem absurd until they are realized and can justify themselves in a tangible way.
How would you describe your creative process?
César Chouraqui: Instinct first, then structure. A bit like the Surrealists and their “exquisite corpses.” You throw out the ideas that come in the moment, review what’s been laid out, and keep the best to work on. Regarding photography, I often impose limits on myself until I feel I can’t go any further. Recently, I did portraits of people I encountered in alleys, always asking for their permission before taking their photos. I didn’t want to take anything without consent. What interested me here was creating contact with the subjects, seeing the trust they could give me in such a short time, and the physiological reaction that ensued. Once again, it was about preserving that spontaneity I sometimes lose when I second-guess my first instincts.
A key image in your personal pantheon?
César Chouraqui: I don’t know if it’s a key image, but I particularly like the photo of those two young women in white in front of pink houses on Venice Beach. As I mentioned, I like having control, orchestrating scenes, and knowing where I’m going. This image showed me that staging doesn’t always need elaborate preparation; that’s the magic of photography compared to video. Capturing a mundane scene at the right moment can yield striking results and tell a story on its own. I captured this photo in an alley near the canals, after my partner, Thomas Desarnaud, pointed out, “Those are very elegant women.” Like William Eggleston, who often prefers a single image, I felt the scene I had been seeking unfolded before me, with the movement of the dresses, the setting, and the colors in perfect harmony. The same applies to the photo of the house, also taken by the canals. If you look closely, you can see a dead raccoon in the foreground, bottom right. It moved me because I love animals, and raccoons are obviously cute. Yet this situation seemed interesting to me because it again illustrated the concept of staging: a small bourgeois house, in one of Los Angeles’ most sought-after neighborhoods, with its perfectly manicured lawn, becomes the tragic stage for life’s realities. The irony of it all can’t help but surprise, and staging it serves to highlight that.
What makes a good photo?
César Chouraqui: It’s not really what it is, but what it tells.
An upcoming project close to your heart?
César Chouraqui: Nothing to do with photography. It’s the release of my two albums: my personal project Cesar Chouraqui and The Idem Colony and the group MKCC, which I formed with Morgan Kibby. I’ve always been a huge fan of Morgan’s work, especially with her first band M83. It’s a real privilege to work with an artist as talented and multifaceted as she is.
Your favorite drug?
César Chouraqui: Luxury.
The best way for you to disconnect?
César Chouraqui: Going, far away. People say you always carry your problems with you in your luggage, not me, really.
What’s your relationship to images?
César Chouraqui: I understand the form of power some talk about, which personally inspires fear in me. We know that the proliferation of images today raises critical questions about truth. They can create unrealistic expectations and generate feelings of dissatisfaction. The balance between aspiration and disillusionment is delicate. I’d say it’s a quest for balance: between fascination and clarity, between what an image shows us and what it hides. The scope of its message.
What interests you the most in an image?
César Chouraqui: Well, the story we make up about it.
Your greatest quality?
César Chouraqui: I inherited it from my parents. I’m very loyal.
An image to illustrate a new banknote?
César Chouraqui: Darth Vader lifting the emperor to throw him into the abyss.
Who would you like to be photographed by?
César Chouraqui: Anton Corbjin, that’s the perfect nod.
A must-have photo book?
César Chouraqui: Genesis.
The job you would never have liked to do?
César Chouraqui: I worked for six months in a big restaurant as a runner. On my first day, I had to bring out a huge piece of meat to a table of people wearing beautiful traditional outfits. Coming out of the kitchen, I tripped on a rug, and the meat flew across the room and landed at their feet. The sauce splashed everywhere, ruining their lovely garments. I was never promoted waiter. No surprise there. (Laughs)
Your biggest extravagance:
César Chouraqui: For one of my first concerts, I asked the PRs of a big clothing brand to dress the whole band from head to toe as if we were playing at Wembley. The concert was in a seedy bar, and there were 19 people in the audience. Only two were there by chance; the rest were family members.
What question could destabilize you?
César Chouraqui: I recently went to an American film launch party. During an interview, someone seriously asked me if I preferred baguettes or bagels. I found the question so stupid that I didn’t know what to say and stammered out a pathetic “baguette, because I’m French.” End of the interview. I believe that the ultimate first degree destabilizes me.
What is the last thing you did for the first time?
César Chouraqui: Relaxing when I had nothing to do. I love doing nothing, but I find it hard to relax in the process. For a long time, I’d think, “damn, I’m missing something here,” but now I prefer to tell myself, “it can wait.”
The city, country, or culture you dream of discovering?
César Chouraqui: Japan.
The place you never get tired of?
César Chouraqui: My bed, and a music studio.
Your biggest regret?
César Chouraqui: My sister once told me, “Nothing that’s meant for you passes you by.” I try to hold on to that.
Regarding social media, what’s your preference?
César Chouraqui: Instagram, to follow PSG news and send direct messages to people whose work I admire. I recently posted a story about a signed Salgado book I gifted (as the obsessive I am) to Morgan’s aunt, probably Genesis. He sent me a thank you note 10 minutes later. It may have been an assistant paid to do it, but it made my day.
Are you more into color or B&W?
César Chouraqui: I like both. I think I prefer black and white, but it feels like an easy choice because no matter the photo, B&W always makes it more striking. I switched from B&W to color for one of my latest music videos, 33 – Dax Remix, directed by Philip Gay, to explore what the fusion of both could bring. We used a technique similar to “Duotone.” It’s a method widely used for iconic jazz album covers in the stereo era, adding a colorful dimension to recordings originally released in mono. In this case, it was a remix by Olivier Dax (Dax Rider, Ceronne, Toxic Avengers) of a track I released three years ago. We felt it was relevant to reuse the original video and apply this photographic approach. Also, the track was a nod to Olivier, who gifted me the remix, after I confessed my admiration for Depeche Mode. This technique was used by Anton Corbijn, the band’s iconic photographer, in one of their videos. It was a fun homage. Full circle moment.
Daylight or studio lighting?
César Chouraqui: Daylight. I’m recording in Los Angeles right now, and whenever I can, I go out and photograph the city. The daylight is overwhelming; it sums up this “bubbling” city.
If I could organize your dream dinner, who would be at the table?
César Chouraqui: Bill Burr for the jokes, Brad Pitt so I can say we’re buddies, God to hold him accountable. Oh, and Hayden Christensen as Anakin, damn.
In your opinion, what’s missing in today’s world?
César Chouraqui: The world has always lacked kindness.
If you had to start over?
César Chouraqui: I’d take more risks, even if it made me look ridiculous.
What do you hope people say about you?
César Chouraqui: I’d like to be remembered as someone genuinely good. It’s hard to be truly good.
What’s the essential thing people should know about you?
César Chouraqui: That when I was 14, I was president of a Star Wars forum with 3,500 members.
If God exists, would you ask him to pose for you, or would you take a selfie with him?
César Chouraqui: I’m reminded of that scene in The Secret Life of Walter Mitty, the one between Walter (played by Ben Stiller) and Sean Penn, who plays the rugged, handsome photographer. When Walter tries to understand why Sean doesn’t take the photo of the leopard, Sean explains that some things are better lived than captured, especially when those moments flirt with the divine. Live your life fully, don’t freeze anything in time. Just do it. One life… etc. I’m a sucker for these kinds of tear-jerking, neo-spiritual scenes. Anyway, faced with God, I’d do my best Sean. I’d watch. And maybe ask him a few questions (not everyone can pull off being Sean). It’s still God, after all.
Any last words?
César Chouraqui: Who’s got tickets for Oasis at Wembley?
