In his videos embedded in sculptural environments, as well as in his first feature film, Occidental (2017), Neïl Beloufa has made a strategy of sidestepping expectations to redirect attention to structural questions of politics and power. Here, Beloufa ups the ante of his culture jamming to expose the discourses and strategies of modern propaganda across the board, from Far Left to Far Right. The clincher is that the exhibits—including artifacts such as a baseball signed by Tony Blair, loans from museums of military history, and artworks by the likes of Gustave Courbet and Thomas Hirschhorn, as well as by Beloufa himself—are installed on robotically controlled display units. The automated rearrangement of these displays continuously makes and unmakes the connections between them, forcing a literal and metaphorical repositioning of the viewer in relation to the panoply of competing ideological agendas that define our time, and the art made within it.
— Alexander Scrimgeour