As part of ‘The films of Jean-Louis’, an ongoing collaboration between Jean-Louis Vincendeau and Ollivier Moreels, recently a collaboration with Romaric Sobac was set up to film ‘L’homme rouge/The Red Man’. Text by Jean-Louis Vincendeau and images by Ollivier Moreels (featured image by Jean-Louis Vincendeau). See more here.

You read flyers, catalogues, posters that sing aloud.
Apollinaire, “Zone”, Alcools, 1913

The red man supporting Bayern Munich is there, he picks up and organises some dented objects while letting his thoughts wander.

Premises of something never named, barefoot he quickly reflects with his ‘bric and brac’, and sends logic and aesthetics running into the gutter, further down.

He is concentrated with detached; immediately shredding his leaflets and newspapers for an unlikely audience not necessarily expected.

Fetuses of plasticized twigs like scared muzzles, lost in their little world; and plaster that rustles flaking, hesitant, poor.

Romaric Sobac develops the art of curating, of aggregating improbable objects according to forces to be found outside and within the desire of the moment.

Clumsily but determined he builds small scaffoldings on the edge of the void; standing lying in awakening of balance, irony, devastation, thin towers of Pisa not always inclined.

His hands plunge into bumpy dreams; violence, tenderness, on the concrete a stumbling doubt can, by his gesture, settle down.

Here, in the hangar “Transports de la Brière”, an implicit slogan not yet tagged, “Walls could talk”. Located in Penhoët, just behind the basin, this suite of warehouses was used as a garage for buses intended for workers in the Chantiers de l’Atlantique. This place abandoned for years is planned to house the old boats of Les Vieux Gréements.