Out of place

We sometimes feel out of place, without however managing to identify what disorients us in what stands before us, irreducible to our previous experiences. New emotions take shape, still wavering, fragmentary, equivocal, which can slowly gain consistency and clarity. This quest for a change of scenery has long been a rare aesthetic experience, a meditative or initiatory search.

But for twelve months, we have lived out of place while remaining on the spot. As if the ground under our feet had lost its usual consistency. Our living environment seems out of tune with its foundations, with our most common uses and with the complicities accumulated over time.

Faced with this alert, it seemed useful to us to invite iconoclastic and playful visions to the rescue during the cycle of artistic and intellectual performances Ça Remue! end of October last.

Our accomplices are bird whistlers, gardeners, architects, anthropologists, shepherdesses, performers, philosophers, physicists, ecologists, echo, dawn or cloud catchers, poets and landscape designers…. They challenge our habitual perceptions of SOIL, BODIES, ATMOSPHERE to bring out more appropriate uses of the world.

Local-contemporain publishes this sum of rare intuitions under the title Dépaysements. We are happy to share a preview with you of these few excerpts:


Alexandra Engelfriet : HAND TO HAND

Below the dominant layer of thought opens up, layer after layer, a continent which cannot be expressed in words, but only experienced. By penetrating these deep layers, a marvelous phenomenon occurs which, deep inside me, opens me to the world, to a more complete reality. Clay is this primordial reality, prior to language.


Entering into conversation with a bird requires making oneself totally available and shapeable since my body, my voice and my resonators will have to redesign themselves to accommodate this song. But it does provide a deep sense of wholeness and oneness with my surroundings. I think I have sought throughout my life, and especially during my childhood, the intoxication of this moment.


If we characterize ourselves as homo sapiens by our verticalization, we do not stand quietly. We are in relation with everything that surrounds us in this gravitational and anti-gravity earth-sky connection with an exchange of forces and energies. Our relationship on the horizon is also not tranquil. Nor to the clouds for that matter.


Will we ever be able to relive landscapes? Will we be able to survive from landscapes? Will the gestures of welcome, the hospitable voices, the smells, the sweetness of the sun, wake up the landscape? Will the gaze of children born here or there, without soil, born between, born nowhere, revive the taste for landscape? These children who do not know the landscaping, will they become smugglers of landscapes?


To reproach a plant or an animal for being there when it comes from elsewhere is to understand nothing of the behavioral reality of the living. We are subject to a compartmentalized cultural model, with a totally blocked fixist vision, where there is no way out. This reflects a misunderstanding of the ordinary mechanisms of life and evolution.

Daniel Bougnoux : DECOINCIDATE

Our lives are played with dice: de-landscape, de-centering, de-localization, departures… We are beings of desire and this desire tears us apart, dislocates us, exiles us from any landscape or country.

Bruno Caraguel : LA REMUE

We will not redo the cities, but we can make them permeable to the living. It is the choice of a wonder that is neither nostalgic nor backward-looking, but forward-looking and innovative.

Pierre Janin / Thomas Mouillon : OBSERVING THE SOILS UNDER OUR FEET

Anchoring and nomadism, rural and urban, local and territorial, intellectuals and manuals, we are part of the agricultural time of the summer pastures, the time of transhumance which remains a formidable model.


The Cloud Parliament transforms the exhibition hall into a courtroom. A silent courtroom, as if awaiting a verdict, where it is the clouds that seem to have become the witnesses for the prosecution, where these transparent entities are recognized for their place at the heart of the balance of the world, guaranteeing the maintenance of the breathing of the bodies.


The sound bath that immerses our lives cannot be reduced to an acoustic dressing applied to the visual landscape. From the womb of our mother, hearing is one of our active senses to apprehend the world.

Jean-Christophe Bailly : BRIEF BACK ON A TITLE

As soon as we leave the circle of our daily movements, we prepare ourselves to be disoriented, projected into another space and other spacings, in the position of the apprentice that in fact we should never abandon.


The Black Palms of Douglas White are at the crossroads of two twin logics of intensive and blind exploitation of the world. They invite us to lie down in the shadow of the globalization of tourism and the domination of our imaginations. They contain no hope.


The echo returns to us, totally or in part, what we sent it, and it is as if it gave it back to us brand new, as if it made us truly hear it. We offer him a small germ of language and, with a backhand blow, he gives you the complete sentence.


Anne-Laure Amilhat-Szary : DIE OF LANDSCAPE

It is no longer possible to contemplate coastal lights without thinking of the migratory dramas that cross these same landscapes.

Marie-Pascale Dubé : THIS IMMENSITY FELT…

The more I sing, the more I feel like I’m coming back to something that’s already there and that surprises me, that opens up and awakens emotions already present in me. An impulse of joy and suffering. It’s about healing. I am neither a shaman nor a healer, but I feel that within me, singing heals me.

Lora Juodkaite, Rachid Ouramdane : NEXT TO REAL

For me, gyration remains a very simple daily practice. My consciousness surrenders, I bow, and I’m grateful. Maybe that’s why this movement stays with me.


Nothing can really exist without being said, the words of the landscape have a place to take, including in the landscape itself.


A bivouac on Mont Aiguille, defeated on June 26, 1492 by royal will. Accompanied by several trades, Antoine De Ville will stay there for a week, the time to say a mass and lay three crosses.

Ça Remue ! (It stirs!) is a LABORATOIRE initiative carried out with the support of Idex Univ. Grenoble Alpes, the Department of Isère within the framework of paysage>paysages and the Carasso Foundation under the aegis of the Fondation de France.

The edition: landscape-animal

As we witness the collapse of animal populations, it seems urgent and necessary to highlight the animal part of humanity.

The humanization of the world has prospered by enslaving other species, to the point of forgetting the animal roots of our sensations and our emotions, the distant complicity shown by the paintings of the Lascaux or Chauvet caves. Wild or domesticated, animals have broadened our awareness and perceptions, and it would be a terrible regression to accept a shared world between the industrialization of “useful” animals and a generalized ecosystem desert.

So that humanity does not escape from human beings, we must recomposed human societies in order to facilitate the movement, the stay and the blossoming of animality, that is to say, to assemble entanglements of rhythms and trajectories. who do not just bend to human interests and projects. Because animals participate in the balance of our societies by their work, their affection, the irreducibility of their behavior.

By combining the knowledge and sensibilities of shepherds, artists, breeders, philosophers, anthropologists, ethologists, geographers …, landscape-animal draws the contours of a more intense and balanced relationship between living beings sharing the same land.

Dialogue avec un troupeau / Laurent Four dans le cadre de
Ça Remue !


Summary :

User manual Alain Faure
Animal landscape Philippe Mouillon
Humus humanity Daniel Bougnoux
Didactics of affective tuning for collapse time Yves Citton
Enchanted by the flock Inge Linder-Gaillard
A flock on campus, what for? Bruno Caranguel
To graze the fields of knowledge Guillaume Lebaudy
Animals at work Jean Estebanez
The integrated university, a pastoral symphony Jean-Charles Froment
Flank the landscape Olivier de Sepibus
A world of insects Laurence Després
Transmitting emotions Katia Després and Gael Sauzeat
Gonepteryx Rhamni Caroline Duchatelet
Attempts to approach a  suspension point Yoann Bourgeois
Spider’s mood Conversation with Abraham Poincheval
The textures of the time Jordi Galí
Places for the living Conversations with Victoria Klotz
Water Memory Conversation with Cyrille André
Animism and wilderness Nastassja Martin
Humanimals landscapes Coralie Mounet
Between dogs and wolves Conversation with Antoine le Menestrel
Migratory Antoine Choplin
The living, the sounds and the territory Henry Torgue
Animal conditions Maryvonne Arnaud
For a city where the walls chirp and sing Milena Stefanova
Atlas of the worlds of each Philippe Mouillon
Lost white pigeon Conversation with Alban de Chateauvieux
Anime Conversation with Alexandra Arènes

Contributed to this issue : Cyrille André, Anne-Laure Amilhat Szary, Alexandra Arènes, Maryvonne Arnaud, Jean Boucault, Daniel Bougnoux, Yoann Bourgeois, Laure Brayer, Bruno Caraguel, Alban de Chateauvieux, Antoine Choplin, Yves Citton, Laurences Després, Katia Després, Caroline Duchatelet, Jean Estebanez, Laurent Four, Jean-Charles Froment, Jordi Galí, Soheil Hajmirbaba, Catherine Hannï, Victoria Klotz, Béatrice Korc, Olivier Labussière, Guillaume Lebaudy, Inge Linder-Gaillard, Nastassjia Martin, Antoine le Menestrel, Jérôme Michalon, Philippe Mouillon, Coralie Mounet, Abraham Poincheval, Johnny Rasse, Gael Sauzeat, Milena Stefanova, Olivier de Sépibus, Henry Torgue.

Original images of : Cyrille André, Jean-Pierre Angei, Alexandra Arènes, Maryvonne Arnaud, Friedrich Böhringer, Marianne Elias, Olivier Garcin, Sonia Levy, Vita Manak, Fred Massé, Stéphanie Nelson, Olivier de Sépibus

More information on: https://local-contemporain.net/opus-11/



Publishing: landscape in motion

Fixed landscapes do not exist. The sedentary and the definitive are only optical illusions, deficits of perception or interpretation. Everything in the landscape moves, pitch, boat, jostles, migrates and moves …. This infinite tangle of dynamics is experienced over 128 pages by many artists and authors from multiple disciplines who invite you to approach the landscape as a valuable resource to learn to live with magnitude.

Contributed to this issue : Anne-Laure Amilhat-Szari, Maryvonne Arnaud, Cécile Beau, Daniel Bougnoux, Philippe Bourdeau, Laure Brayet, Anne Cayol-Gerin, Philippe Choler, Laurence Després, Caroline Duchatelet, Gisèle Durand, Sandrine Expilly, Alain Faure, Eve Feugier, Christoph Fink, Éléonor Gilbert, Lucie Goujard, Julien Grasset, Catherine Hänni, Nicolas Hubert, Nicolas Lanier, Francis Limérat, Jacques Lin, Jeanine Elisa Médélice, Sarah Mekdjian, Chloé Moglia, Guillaume Monsaingeon, Philippe Mouillon, Stéphanie Nelson, Fabrice Pappalardo, Aymeric Perroy, Dominique Pety, Hélène Piguet, David Poullard, Isabelle Raquin, Claire Revol, Olivier de Sépibus, Anne Sgard,  Jeff Thiébaut, Henry Torgue, Martin Vanier.

Original texts of : Maryvonne Arnaud, Daniel Bougnoux, Laure Brayet, Anne Cayol-Gerin, Lucie Goujard, Nicolas Lanier, Jeanine Elisa Médélice, Guillaume Monsaingeon, Philippe Mouillon, Aymeric Perroy, Dominique Pety, Isabelle Raquin, Claire Revol, Olivier de Sépibus, Jeff Thiébaut, Martin Vanier;

Original images of : Maryvonne Arnaud, Éric Bourret, Caroline Duchatelet, Sandrine Expilly, Éléonor Gilbert, Stéphanie Nelson, Mathias Poisson, Isabelle Raquin, Olivier de Sépibus.

Plus d’informations sur : https://local-contemporain.net/opus-10/



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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A Collection of Collections

local.contemporary 08
80 pages / 15 €
ISBN 978-2-36744-072-9 / legal deposit November 2014

Texts by Maryvonne Arnaud, Miguel Aubouy, Daniel Bougnoux, Yves Citton, Michel Duport, Alain Faure, Antoine de Galbert, Jean Guibal, Patrice Meyer-Bisch, Philippe Mouillon, Henry Torgue, Guy Tosatto.


How do you best express your inner self, that is to say, make public what you know intuitively and feel deeply inside, so that someone else can seize it for his own self-enlightenment?

You are unsettled by this interweaving of a thousand little threads of knowledge that you had half forgotten, of a mix of flavours, of feelings apparently dormant or ill-defined. This, however, is precisely what does define a public space in the most political sense of the words. It’s at the crossroads, the point at which these harmonise, where we come alive in this world, where we define each other.

Sharing our most personal passions, as a Collection of Collections suggests, is to adjust the universally felt financial value by remembering our own value criteria, the incalculable value of the things we’ve loved in life.