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Video documentation of an homage to聽 Brigitte Fontaine at the Sacre C艙ur site, where the Paris comune was defeated (1871). The video plays strong french female voices heard inside the church, and ending with the ‘shit-folk鈥 concert given by Roro Perrot. Texts by LAURA BOULLIC, BRIGITTE FONTAINE, MALIKA KADRI, LOUISE MICHEL, CATHERINE RIBEIRO, Read by NICHOLAS GRAFFIA, MALIKA KADRI, MAROUSSIA REBECQ, GUSLAGIE MALANDA, MARGOT NYUGEN, DJEMBE- BOUBARE KOANDA , concert by ROMAIN PERROT

February 27, 2022聽 Video release March 19, 2023

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The video of Roro Perrot’s contribution to our Brigitte Fontaine’s tribute “BRUIGITTE AU SACRE (HARD) COEUR” is now on YouTube.

Romain Perrot is a parisian musician who positions himself in a radical and nihilistic “anti” approach. He has had no musical training,and does not aim, in his practice, to develop these skills. His approach values the absence of know-how and musicality in an assertive way. He claims to be an “anti-artist” who “in the instrument and the noise, (I) really discover the letting go” To build his universe, he acquires guitars, amps, synthesizers and uses his instruments instinctively to generate raw sounds. The whole of his noisy projects adopt this “anti-music” approach allowing him to retranscribe his disillusions and his rejection of a constituted order. Ps. he calls his genre ‘ultra shit folk’.



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Simonnel / Peras al Olmo

A music video commissioned to Red Social by Mexico City folk musician Peras al Olmo, a project of Andy Mountains inspired in the rupestrian movement music. Simonnel is a song about an fictional character that unifies two basic concepts taken from Mexican street slang: Sim贸n (yes) and Nel (no). Projected on two screens, the video presents this oxymoronic fictional figure who says “yes with his hands and no with his eyes”, filmed on a double island strewn with the remains of a prison and personified by a model who contradicts this description, embodying the beauty of freedom. As a two-channel videclip Simonnel was presented in the exhibition “O霉 sont pass茅es les gazelles?” at the gallery Air de Paris in February 2022.

Filmed in Marseille 2021, release on April 2023 from Peras al Olmo youtube channel.


Album: Libro del amor

Actress: Paule Charone

Production Assistant: Margot Nyugen

Image/edition: Adriana Lara

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O霉 sont pass茅es les gazelles? Red Social @ Air de Paris


Adriana Lara & Red Social’s exhibition “O霉 sont pass茅es les gazelles” (Where did the gazelles go?), brings together video works, photography, painting, sculpture, installations and summarizes the research and experiences resulting from deverloping Red Social in France. The title is almost literally inspired by a song by Lizzy Mercier Descloux (1956-2004), musician, punk muse and inveterate traveler who defied, in her life and career, any attempt at strict classification.
“I’ll never stop loving the street / Speak for you, and the fight goes on” – the words of the song “O霉 sont pass茅es les gazelles?” refer to the driving force of Red Social.
Social Network works with musicians of various genres who work experimentally. What is at stake is the capacity of music to generate community, mixing cultures, confronting and articulating different voices, and thus forming a juxta-political network of solidarity.

Participants: Mery Buda, Daisy Bruley, Gorgio Pratalongo, Mathieu Kiefer, Peras al Olmo, Xavier de Maria y Campos, Mabe Fratti, Mapalma, Charlotte Leclerc, Malika Kadri and Adriana Lara. Gallery:聽 Air de Paris in Romainville, France.


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Studio 3D))) was a temporary space at the Cit茅 des Arts Montmartre in Paris where Red Social presented a series of 3 concerts.
The project existed from September 2021 to February 2022.

The stage was in the center and was a carpet that was also used as a screen to project images from above. The concert would be also filmed from above; different sets of images/videos where projected on each concert. These recordings separate the visual memory of a concert from that of its documentation, the result is not to obtain a register of the concert from the point of view of the spectator as it is usual, but rather in the place of the viewer of the video, recognizing the life that this concert may have later on the screen, without obstructing the experience of the concert-goer.
In the video the sound comes from below while the image is perceived frontally, putting in tension this relationship between audio and vision: while the displacement of the sound dislocates the viewer, the image relocates his or her correct perception.

The series of concert was later titled 鈥淪i on firm les yeux /if we close our eyes) An invitation to avoid the image, and let the sound transport you into the concert, an idea that in this visually oriented times invites to a caring and sharing experience . This transdisciplinary project addresses the problematic of “presence” and “absence” in the recording of a concert, while recognizing its new existence on the internet, to give it a kind of hybrid form.