Indomitable ? Portrait of a libertarian artist : Pasetek Antirep
Front door of La Forge des Affranchis, Nannay, France, June 2019
One of the first things that came to my mind when this question « Indomitable? » was asked to myself for this reportage realised for Parietism movement was anarchy, the libertarian movement. Used to a Parisian and compartmentalised contemporary art scene, I wanted to know how the contemporary libertarian artist expressed himself, and how his libertarian philosophy was expressed through his art, how this freedom was reflected, both in his way of life and in his artistic activity.
Which shape to choose? I wanted to take a detailed look at an artist's work, among others. The purpose of this documentary is not to put it in the spotlight of a contemporary libertarian art, but to illustrate the daily life of a committed artist, who through his work and his way of life raises the following question in himself: "Indomitable? ». My research led me to Julien Rommel, aka Pasetek Antirep, a committed artist, musician and cantonnier in the village of Nannay, who among other associative and cultural projects created the Forge des Affranchis, in his house, where he works as a sculptor.
Libre ?, Pasetek's garden and his dog Itaque, Nannay, France, June 2019
The first phase of the report on Julien Rommel, known as Pasetek (in reference to peace (Paz) and his taste for techno (tech) music), took place in Nannay, Burgundy, in June 2019.
Julien comes to pick me up at the station of Charité-sur-Loire with his truck, accompanied by his dog Itaque. We start a polite discussion in the car, and a few minutes later we arrive in his village. His house, which also has a barn and a workshop, is easily visible from the outside. A large portal with sculptures of robots in front of the door, as well as an inscription: "You who walk through these doors, leave your evil thoughts outside".
So the door is opened without any bad thoughts, and we start talking about art, politics, society, over a meal he prepared for us. Julien's artistic approach is intimately linked to his approach to freedom, and consequently to anarchy. The Forge des Affranchis, which he created two years ago, is the flagship, and its playground is not the urban environment but the countryside, which Julien wants to use as a field of artistic expression. Originally from Essonne, having spent a long time on the road, on his truck and with several experiences of community life, particularly in different zones to be defended (ZAD) in France, he decided to settle in a small rural village to carry out his projects.
Art as a way of fighting
Art is used to convey his messages: "To free oneself, there is either art or violence," he says. For him, who for a time flirted with the legality of the anarchist actions undertaken and who knows that he is being monitored by the intelligence of his region, Art seems to be a more delicate, sensitive but also more secure means of expression. Undoubtedly more in line with the way of life he has chosen today: the acquisition of a house, which he has restored for a year and which he also uses as a workshop for his forge. His violence today is expressed against the iron he forges, to express his libertarian and ecological ideals.
For the plastic blacksmith, as can be read on his business cards, a more general awareness in French society is emerging, particularly concerning the themes of ecology and police violence. He, who had long built huts, particularly in the ZADs, which was the first steps in his artistic expression, was surprised by the movement of yellow vests, by those who had never manifested in their lives and who were beginning to use methods generally used in alternative environments. And he acknowledges it: it is perhaps "thanks" to the police that he became an anarchist.
But Julien has therefore changed his form of wrestling, favouring artistic wrestling. He is satisfied that strangers entering his workshop with prejudices come out of it without any prejudices. A lady would even say to him one day "I didn't think that someone like you could do such beautiful things". "Someone like you." So how's Julien? Smiling, friendly, very welcoming. A slight crest on his skull, sweatshirt and pants, suitable for working in his workshop. But, modest, he easily disappears behind his works, and his ambitions are collective rather than individual.
Independent without being selfish, Julien wants to show things about social change. He has lived this life in community, which must give way to many concessions. So after Sivens, Notre-Dame des Landes and Agen he wanted to make "his" ZAD, and chose Nannay. To live, Julien is a road-mender in the village of one hundred and twenty inhabitants. Of a "big-mouth" nature, he does not hesitate to invest himself in local life, to comment on it, to make it live.
What about his relationship to art? We are talking about copyright, and I feel that he is not a great defendant. As an anarchist, his relationship to copyright remains close to a pecuniary conception. He criticizes the commodification of works, but especially those of certain artists valued at several hundred thousand euros, an immense difference with those he sells in his studio. Because Julien sells these works, although in the world of "underground" art from where he comes, selling can be frowned upon, and that doesn't necessarily go with his principles. But on the other hand, he wants to be autonomous, and concentrate on his art, so "if he has to sell he will sell". Julien regularly has commissions, to which he generally responds positively, trying to keep the same artistic momentum as for his more personal works.
Portrait of the artist Julien Rommel, Nannay, France, June 2019
A collective and local commitment
Committed to his community, Julien sees Nannay and the village in general as a form of collectivism: shared gardens, film festivals, community life, the field of possibilities seems infinite for these places, which are now often abandoned. He feels the desertification of villages, while there are many advantages to living in the countryside: more economical, more ecological and almost regrets the old systems of bartering, lending and sharing tools.
Today, "the State is trying to break up these scattered villages, in order to be able to control them more easily". So he struggles, and also tries to bring back young people, friends of his own in a village where the average age reaches almost sixty years. The campaign would also be the solution against global warming, and for the young anarchist it is a militant gesture to settle down, to have his vegetable garden, to be autonomous. A way to resist capitalism. And, according to him, forms of repression have more difficulty entering villages, more conducive to an independent and peaceful life.
Capital Die, Portrait of Julien Rommel, Nannay, France, June 2019
Julien's artistic commitment does not stop with his sculptures. He is also the founder of an association, Pâquerette Sound, which organises events, combining music and art. Close to the spirit of free parties, but in a safer legal framework, he is admiring the dedication of the actors of these parties, from DJs to technicians, taking financial and legal risks to share their culture and satisfy an audience. For him, the free party also has something a bit communitarian, familial. The association also organises parties, where parents and children have a good time. It is an opportunity to create a social bond, to offer a new and often uninitiated public its art, both musical and sculptural.
The universe of robots
"No robot, no slave." The world of robotics totally permeates Julien and his works. Robots make him dream and afraid at the same time. In techno music, the sounds remind him of space. During the "Open forge" organised, the public comes to meet the artist and his works: the door is wide open, he has nothing to hide. He invites artist friends, organises openings, and above all music is present in the forge all day long. This combination of music and art takes us into a robotic and anarchist atmosphere.
On the other days, there is a peaceful atmosphere in the forge. A fairly large space, a real artist's studio. In a room all the materials necessary to be welded or forged, often recovered from a nearby landfill or donated by neighbours or friends, all the equipment is present and available. In his house of the dry toilets, on the garden side a rocket grill, a pond and plantations: Julien puts his ecological ideology into practice.
Julien Rommel, Nannay, France, June 2019
In front of La Forge des Affranchis, Nannay, France, June 2019
The artist is rather modest, he assumes to have a part of improvisation, of feeling in his work, nothing is really planned. The relationship to the robot, to surveillance is very clear in his works, clearly expressing his concern and mistrust of the police forces. Anarchy is omnipresent. On his sweatshirt, on the walls, the circled A appears. But what is anarchy to him? It is difficult to give a precise definition, it is a state of mind, and above all a way of life. Free, respectful of the environment, concerned about sharing, on the one hand collective where individuals meet, help each other and discover their respective cultures.
However, Julien does not necessarily like to describe himself as an artist, in that he finds that this creates a separation from others. So, Indomitable? Each principle has its limits, but nothing beats experience. From community life to solitary life, from life in a truck to ownership of his land, from vagrant life to the job of a road-mender, under the orders of a "boss", from tree houses to sales to his sponsors, from street fights to the tranquility of a workshop in the countryside... everything could cast doubt on this indomitable character. But, to express oneself through art, don't we need a framework, tools, time? With his vegetable garden, his house and his works, with a simple way of life, close to people and the essential, isn't Julien free? Sometimes, perhaps, we have to agree to make these concessions. Each principle has its exception. Let us at least honour those who try.
Corentin Schimel
Affranchis, Portrait of the artist Julien Rommel in his house of Nannay, France, June 2019
