Romain Perrot (born 1973), better known by his stage name Vomir (French for “vomiting” or “regurgitate”), is a French noise music artist based in Paris.Since beginning his career in 1996, Vomir has appeared in over 300 releases, including singles, albums and collaborations with other noise artists. The majority of his albums were produced by his own independent label, Decimation Sociale. Vomir positions his approach to music as an “anti-” approach, with a radical and nihilist stance. He spearheads the harsh noise wall movement, an extreme subgenre of noise music which he describes as “no ideas, no change, no development, no entertainment, no remorse”.
Vomir is a participating artist in the tekhnē project, supported by the European Union.
Vomir will not only perform onstage, but will also create a new installation as part of the sound art project tehnē, co funded by the EU and The Ministry of Culture of Latvia. His performance is also supported by The French Institute in Latvia.
Commissioned work: “Proclamation of the Bruitist Wall”, an installation
The individual no longer has an alternative but to completely refuse the promoted and preached contemporary life. The only still free behavior is the noise and withdrawal, to never surrender to handling, socialization, and entertainment.
The Bruitist Wall does not promise to repeatedly provide a direction and values with the lived existence. The opaque, dull, and continuous noise allows a total phenomenologic reduction, a means against the existential interpretation: disengaged in the pure and unaltered bestial appeasing.
The Bruitist Wall is pro-outsider, the voluntary outsider. It calls into question the institution of any relation, all that destroys occurs.
The Bruitist Wall is a social challenge. He challenges any concept of group, community, organization and admits the alternative of postmodern cloistering withdrawal from society. The refusal in the fold because any act even considered futurist, dada, situ or anarchist/straight edge is vain.
The actionism of disrepair cannot face the dilapidation, with factitious recovery, the prostitution of our derivative civilization. To observe contemptible outside should be only one last recall of the human nonsense before the époque protestor. Any thing and any being become without significance. The Bruitist Wall is the loss of conscience of time to live in void and to let themselves run in the moment.
The Bruitist Wall is the physical loss of conscience.
The Bruitist Wall is the uninterrupted practice of the mental noise.
The Bruitist Wall is the militant purity in the non-representation. Vigilant of the last sudden starts, let us adopt a new posture in withdrawal – neither tender, neither escape, nor bending – in order to be able to affirm “I never was there” in the desert created by the obliteration of our environment. To lose any hope is freedom.
In the insulation of the Bruitist Wall, cellular nothing, to become its shade – impassive murderer of oneself – and thus to become shade of the man, unknowable, impersonal.
In the Bruitist Wall, to worsen its being, to be held unaware of and ignorant of all; withdrawal requires the development of a pure indetermination which is forged in the lapse of memory of the emotional and intellectual constraining elements.
The Bruitist Wall, darkness of a spiritual martyrdom, is the union between the being and nothing, a lullaby without end.
The Bruitist Wall spreads its occult virtues, by hummings and the buzzes of its hermetic formulas, it disaggregates and calls with irrevocable disintegration.
From 10 to 20 October, the gallery “Smilga” (E. Smiļģa street 34A) will host Vomir’s installation from Wednesday to Sunday (from 4 p.m. to 8 p.m.).
