Singular landscapes, plural landscape

Better perceive and share the world to which we belong. This is the meaning of PAYSAGE> PAYSAGES, an attractor of initiatives developed on the 7,431 km2 of the department of Isère during the three months of a season, here in autumn 2016, then amplified by slipping a season to the other until the summer of 2020. The landscapes weave the close neighborhood and the horizon, circulating otherness in the local and intimacy in the distance.

Original texts by : Anne-Laure Amilhat Szary, Maryvonne Arnaud, Jean-Pierre Barbier, Daniel Bougnoux, Élisabeth Chambon, Patrick Chamoiseau, Marie Chéné, Alain Chevrier, Antoine Choplin, Alain Faure, Christian Garcin, Serge Gros, Jean Guibal, Michael Jakob, François Jullien, Agnieszka Karolak, Marie-Hélène Lafon, Philippe Marin, Sarah Mekdjian, Céline Minard, Guillaume Monsaingeon, Philippe Mouillon, Hélène Piguet, Alain Roger, Gilles A.Tiberghien, Henry Torgue.

Literary texts by : Aragon, Balzac, Aimé Césaire, Du Bellay, Jean Giono, Héraclite, Jacques Lacarrière, Mario Rigoni Stern, Stendhal, Oscar Wilde.

Original images by  : Maryvonne Arnaud, Benbert, Andréa Bosio, Jérémy Chauvet, Thi Thuy Ngan Dinh, Yann de Fareins, Michel Frère, Françoise Girard, Chris Kenny, Lapin, Vanessa Loumon, Mengpei Liu, Gérard Michel, Mohamad Tohméh, François Mondot, Douglas Oliveira da Silva, Thomas Pablo Mouillon, Mathieu Pernot, Amélie Pic, Christian Rau, Jean Marc Rochette, Ingrid Saumur, Tazab, Denis Vinçon, Jeremy Wood.

Iconographies : Gustave Doré (1875-1878) Collection musée de Grenoble, Jean Bidauld (1808) Collection musée de Grenoble, Édouard Brun (1901) Collection musée de Grenoble, Ernest Victor Hareux (1892) Collection musée de Grenoble, Laurent Guétal (1889) Collection musée de Grenoble, Ernest Hébert (1883) Collection musée Hébert, Jean Achard (1837) Collection musée de Grenoble, Jean Achard (1844) Collection musée de Grenoble, Guo Xi (1072) Musée national du palais, Taipei

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walking with satellites

Do printed maps still matter in our digital age? The availability of digital signal, the demand of real-time data, the omnipresence of telephone that become mobile-compasses, all are often thought to condemn paper. We now know that no map is true, perfectly precise or definitive. Like classic translations, constantly reworked, cartography is a translation amongst others, eternally incomplete and obsolete. Artists never aim to be neutral or exhaustive. Their approach toward scenery is by essence a refusal of the norm, the choice of a personal interpretation, a call to look differently at those landscapes we thought we knew well. Mappages assembles artists who approach maps as a means of expression rather than as orientation tool; questioning the pretence of maps as absolute things; a call to the “map of the day after“, that which would complete the experience of a territory never definitively documented. The French word mappe, old-fashioned and unusual, has been chosen rather than carte. Map and mappe both come from nappe (table cloth). Mappage is a mix between the map and the page: long live printed maps!

“Walking with satellites” is the result of a work carried out over three weeks, with the collaboration of 65 students equipped with GPS receivers; it is both an orientation tool and the story of a collective experiment. 475 kilometres were covered on foot over the 185 hectare campus, while avoiding all existing paths. Roads and buildings disappeared, replaced by loops and convolutions. Under Jeremy Wood’s direction, the Grenoble campus has revealed its unseen and delicate composition. It is a map made of methodical meanderings, second thoughts, day dreams and wanderlust. On the front of the map (the recto) we see the campus’ connection to the city, thanks to the crossing of the Isère, or the discreet presence of the buildings. The map printed on the back reflects a floating silhouette, almost primitive and wild, looming from prehistoric times.

Mappages : Directeur de collection : Guillaume Monsaingeon

ISBN 978-2-9516858-2-6

Prix de vente public : 5 €

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Points of Reference

local.contemporain 06 / 80 pages

publishing le bec en l’air


Texts by Patrick Chamoiseau, Bernard Stiegler, Daniel Bougnoux, Yves Citton, Thanh Nghiem, Chris Younes, Jean Guibal, Olivier Frerot, André Micoud, Janek Sowa, Luc Gwiazdzinski, Henry Torgue.
Images by Maryvonne Arnaud, Sylvain Pauchet.

Disorientated! It’s the term we often use to describe the state of incomprehension into which we are plunged by disconcerting situations on a personal level as much as by the changing world in which we live.

There is an overwhelming feeling that stable points of reference which guarantee the correct and more or less permanent direction in a person’s life are vacillating and thrown into doubt. It’s a fact, the world is changing faster than human consciousness. Life’s certainties, family, work, religion, politics, the economy, and even money… are proving to have feet of clay. What will become of us when the points of reference which allow an individual to navigate and position himself are no longer anchored down? Is an era of no shared reference points viable?

You can see a double change: on the one hand a lost quest for beacons and mooring lines to anchor and reference our broken lives, or values that are being consumed as if by fire echoing frenetic consumerism; on the other hand,there is the fevered policing of the individual on a local level and of our day to day lives, trapped in a labrynth of computer passwords, where our every little action registers and is pinpointed on a rather alarming mysterious worldwide surveillance network.

To understand today’s reference points and the magnetic poles that work our compasses, this piece resonates with three ensembles: the regional localities which speak for themselves and bear witness to layers of history; the photography of Maryvonne Arnaud, providing visual commentary, bearing silent witness to reference points; followed by open reflection navigating three fundamentals: the place and its roots; objects, technology and science; language, tradition and meaning.

All these collaborations are a product of the “Workshop of the World”, a series of meetings arranged by Philippe Mouillon and supported by La Criée, the Centre for Contemporary Arts at Rennes. Philosophers, researchers, artists and poets debate freely these issues, building a “World Collective of Doubt” , trains of thought that are far from being doctrine and are more like a game – in both senses of the word: like a fun pastime and equally, a gentle relaxation, which keeps you mobile and active.

“There is no fundamental truth only fundamental errors. Truth is an error corrected.” wrote Gaston Bachelard. It’s with a view to “correct” that is the aim of this piece: to tease out nuances, to have an open mind to every piece of knowledge, ancient or alien, to become involved in the analysis of artistic vision and poetic intuition, in order to turn doubt into a point of reference.

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Crowds of People

local.contemporain 05 / 80 pages

publishing le bec en l’air / 10€

Texts by Daniel Bougnoux, Jean-Pierre Chambon, Luc Gwiazdzinski, Henry Torgue, Philippe Mouillon, Bernard Mallet, Xochipilli

Images by Maryvonne Arnaud.


No-one likes a crowd. A crowd is the exact opposite of the individual as king of all he surveys, who in contemporary ideology is persuaded he is at the centre of the universe, making his own choices, divorced from all social pressures.

The media would have us all believe that crowds exist in menacing countries and are from another era: political cohorts in Iran, religious ones in Burma, the masses suffering floods or earthquakes, or more than that, in wealthy countries, the memories of political movements no longer current: political demonstrations, liturgies of anger…

In day to day life, the word “crowd” is no longer proffered to describe those flocking to shopping centres, the conspicuous collective consumption, the traffic jams repeated over and over in the suburbs or our systematic use of public transport.

Nontheless, if pushed from the forefront of our minds, relegated to “elsewhere” or “in the past”, crowds are never far from our lives. Public audiences consistently gather us to one spot, while the media and the latest communication technology form the crowds of our modern age.

Trying to make ourselves aware of the fantastic potential energy of our collective lives, this is a burgeoning vista of aspects of “being together” before it becomes just part of everyday normality for the masses. It’s a major issue because we can never escape being part of a crowd.


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Fragility, today’s questions

local.contemporain 04 / 80 pages

publishing le bec en l’air / 8€

Texts by Bruno Latour, Yves Citton, Janek Sowa, Stefano Boeri, Lionel Manga, Henry Torgue, Daniel Bougnoux, Philippe Mouillon

Images by Maryvonne Arnaud.

Sound chronicles by Laurent Grappe

We don’t really have the mental geography that fully equips us to live in today’s world… It’s this claim by philosopher Bruno Latour when we first met that gave rise to the wish to shine a light on how to interpret and represent reality escaping through our fingers like the sands of time. We have chosen to test this fragility in how the world works, the paradox of a society greedy for images and information, to test it by considering the insecurities of our age.

Beyond the obvious and lamentable social fragility, insecurity is one of those great polarising forces of the european social experiment. In a survey carried out in France in December 2007 more than 50% of the inhabitants cited insecurity as one of their main worries, so that it seems that fear of being poor exceeds the actual incidence of it.

To be able to live in this world, to change it, you have to understand how this modern day fear has been created. It’s this work of social (re-)engineering that artists and philosophers from all over Europe are invited here to participate in.

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