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/

 

ORDER THE REVIEW

Ça remue !

ÇA REMUE

PERFORMANCES – INSTALLATION – MASHUP OF FILMS – CONVERSATIONS BETWEEN ARTISTS AND RESEARCHERS – CONFERENCE FICTION

Grenoble Museum
Friday 2nd, Saturday 3rd, Sunday 4th March
hall, large gallery, patio, seminar room, auditorium
Fixed, stable, fixed landscapes do not exist. The sedentary and the definitive are only illusions of optics or perception. Everything in the landscape moves, pitch, boat, jostles, migrates and moves …

In contrast to the route too well traced on the main road projecting us as soon as possible to a specific destination, It stirs you to walk randomly available to the unexpected, attentive to all meetings, to enjoy the time passing , the time that changes, to forget the certainties or the worries to leave the part with the escape.

THE 3 DAYS PROGRAM:

MASHUP: The landscape makes its cinema

Friday 2, Saturday 3, Sunday 4 March> Auditorium of the museum (free admission)

A montage of Agnès Bruckert (36-minute loop in continuous projection).

INSTALLATION: Places-called, a precipitate of lives

> Friday 2, Saturday 3, Sunday 4 March> Large gallery (free entrance on Saturday and Sunday)

A proposal by Philippe Mouillon with the scientific contest of Jeanine Elisa Médélice

SEMINAR: landscape in motion

> Friday, March 2nd from 9.30 am> 1 pm / 2.30 pm> 6 pm> Seminar room (free entrance on registration here)

9:30 am> Welcome by Guy Tosatto, director of the Grenoble museum. Introduction by Philippe Mouillon.
10h> 13H – 14H30> 18H: A day of reflection on landscapes in motion with Cécile Beau (artist), Daniel Bougnoux (philosopher), Philippe Bourdeau (geographer), Philippe Choler (ecologist), Emanuele Coccia (philosopher), Laurence Desprès (biologist), Caroline Duchatelet (artist), Alain Faure (political scientist), Catherine Hänni (archaeobiologist), Lucie Goujard (art historian), Lionel Manga (writer), Martin de la Soudière (ethnologist), François Parcy (biologist) , Dominique Pety (historian of literature), Claire Revol (philosopher), Olivier de Sepibus (artist), Henry Torgue (composer), Martin Vanier (geographer), Marc Vuillermoz (historian of literature) …
18H30> Conclusion in the presence of Patrick Levy, President of the University Grenoble Alpes.

(photographie de Stephanie Nelson)

  • CONVERSATIONS between landscape artists> landscapes and university researchers / CNRS

> Saturday, March 3> Patio (free admission)

  • 10H Caroline Duchatelet (artist)> / <Daniel Bougnoux (philosopher): Picking the light
  • 11H Agnès Bruckert (editor)> / <Pascale Bodet (film critic)> / <Laure Brayer (architect): Filming the landscape in the background
  • 12H Rachid Ouramdame (choreographer)> / <Anne-Laure Amilhat (geographer): Crossing borders
  • 13H Céline Perroud (dancer)> / <Claire Revol (philosopher): Gestures between heaven and earth
  • 14H Olivier de Séphibus (photographer)> / <Yann Borgnet (guide)> / <Lucie Goujard (art historian): The disappearance of the high mountain landscape
  • 15H Cécile Beau (artist)> / <Cartherine Hänni (archaeobiologist): Stability and turbulence, changing nature
  • 16H Chloé Moglia (artist)> / <Emmanuele Coccia (philosopher): To mix with the world by the breath
  • 17H Éléonor Gilbert (director)> / <Anne Sgard (geographer)> / <Sarah Mekdjian (geographer): Experimenting with everyday life

(photographie de Stephanie Nelson)

(photographie de Stephanie Nelson)

Commentaire de Daniel Bougnoux

  • PERFORMANCES

> Saturday March 3rd

  • 11H > Skull*cult de Christian Rizzo et Rachid Ouramdane > Salle XVIIIe siècle (entrée gratuite / durée 25mn)

Rachid Ouramdane, co-director of the CCN2-National Choreographic Center of Grenoble, takes over and interprets this solo created at the Vif of the subject in Avignon in 2002. The body wrapped in leather, he develops a work of articulations and suspensions entirely realized of back .

(photographie de Stephanie Nelson)

  • 12H> Horizon Chloé Moglia> Museum forecourt (free admission / duration 25mn)
    At 6 meters in height, Chloé Moglia, the aerial artist associated with the CCN2-National Choreographic Center of Grenoble, explores the decomposition of movement at the end of a long bent perch.

(photographie de Maryvonne Arnaud)

  • 14H> Skull * cult of Christian Rizzo and Rachid Ouramdane> 18th century room (free entry / duration 25mn)
    Rachid Ouramdane, co-director of the CCN2-National Choreographic Center of Grenoble, takes over and interprets this solo created at the Vif of the subject in Avignon in 2002. The body wrapped in leather, he develops a work of articulations and suspensions entirely realized of back .
  • 15H> Horizon Chloé Moglia> Parvis of the museum (free entrance / duration 25mn)
    At 6 meters in height, Chloé Moglia, the aerial artist associated with the CCN2-National Choreographic Center of Grenoble, explores the decomposition of movement at the end of a long bent perch.
  • 16H> Espace Éléonor Gilbert> Seminar room (free admission / duration 14mn)
    A 14-minute film where, with the help of a sketch, a little girl explains the geopolitical subtleties of public space on a playground scale.

(Photogramme du film d’Eléonor Gilbert)

PERFORMANCES

> Sunday 4th March

  • 11:30 am> Transhumance Nicolas Hubert and Giulia Arduca Company Epidermis> Departure Grand gallery, cloakroom level (free admission / 20-minute stroll)
    A performative and contemplative ambulation in large imaginary spaces, through a movement hybridizing the forms to the confusion of members and genres (human / animal, masculine / feminine).

(photographie de Maryvonne Arnaud)

  • 12H>> Horizon Chloé Moglia> Museum forecourt (free admission / duration 25mn) At 6 meters in height, Chloé Moglia, the aerial artist associated with the CCN2-National Choreographic Center of Grenoble, explores the decomposition of movement at the end of a long curved pole.

  • 14H> Earth’s gesture Céline Perroud Compagnie Cultural Rotations> Patio (free entry / duration 20 mn)
    Atypical dancer and choreographer, Céline Perroud presents a variation of the master class “Sismo Danse” realized with the seismologist Jean Robert Grasso and the visual artist Sébastien Perroud.

(photographie de Stephanie Nelson)

  • 14H30> Transhumance Nicolas Hubert and Giulia Arduca Company Epidermis> Departure Large gallery, cloakroom level (free entry / 20-minute stroll). A performative and contemplative ambulation in large imaginary spaces, through a movement hybridizing the forms to the confusion of members and genres (human / animal, masculine / feminine).
  • 15H> Attempts to stretch the French frozen David Poullard> / <Guillaume Rannou> Large gallery (free admission / duration 20 min)
    A fictional conference by two artists of the language who together develop devices intended to distort the ordinary and the banal of our everyday language, in order to extract unexpected potential senses.
  • 15H30> Horizon Chloé Moglia> Museum forecourt (free admission / duration 25mn)
    At 6 meters in height, Chloé Moglia, the aerial artist associated with the CCN2-National Choreographic Center of Grenoble, explores the decomposition of movement at the end of a long curved pole.
  • 16H> The gesture of the earth Céline Perroud Compagnie Rotations Culturelles> Patio (free admission / duration 20 mn)
    Atypical dancer and choreographer, Céline Perroud presents a variation of the master class “Sismo Danse” realized with the seismologist Jean Robert Grasso and the visual artist Sébastien Perroud.
  • 16H30> Attempts to stretch the French frozen David Poullard> / <Guillaume Rannou> Large gallery (free entry / duration 20 min)
    A fictional conference by two artists of the language who together develop devices intended to distort the ordinary and the banal of our everyday language, in order to extract unexpected potential senses.

 

 

 

Télécharger le programme

Une initiative de LABORATOIRE en partenariat avec le musée de Grenoble, le CCN2 centre chorégraphique national de Grenoble et les éditions local-contemporain – réalisée avec les soutiens de l’IDEX Université Grenoble Alpes, la SFR recherche-création Université Grenoble Alpes, la région Auvergne Rhône-Alpes, la ville de Grenoble dans le cadre de

un événement culturel porté par le Département de l’Isère sur une proposition artistique de LABORATOIRE

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/

 

ORDER THE REVIEW 

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

> Download the order form

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 €

Download the order form

Points of Reference

local.contemporain 06 / 80 pages

publishing le bec en l’air

15€

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.

Download the order form