The Ways of the world

Context

This fourth season of paysage> paysages steps into the landscape disorientated. A disorientation that, for a long time, was the privilege of the traveller passing through unfamiliar country, then of the western tourist enjoying a change of scenery. A few vagabond figures like Victor Segalen or Nicolas Bouvier managed to become porous to the world, writing incandescent prose permeated by its endlessly diverging ways. However, in most travel literature, any sense of otherness is obscured or confused by the quest for the exotic.The postage stamp, postcard and travel agency brochure have been the icons of this exoticism. Far away places arrived here as fictions, served up as screensavers devoid of any lines of force that might disturb their tranquil surfaces.

And yet… every experience of the landscape begins, first and foremost, as a disorientation. Including our own immediate environment, in a time when our familiar surroundings constantly re-appear to us “disoriented”, vacant, adrift in planetary standardization. This disorientation is the dominant experience of the contemporary world; the mirror image of the change of scenery sought by the tourist, unmooring place from its foundations, from the habits and uses that have sculpted it over time. The “sites” demarcated by the tourist industry, the agricultural industry, as transport hubs and offshore platforms occupy countries like a foreign army, in an amnesia of belonging. They are places cloned, of which the model – both precursor and prototype – was the colonial plantation; identikit environments slowly eating up the world.

We live with the illusion of landscape as something stable, something that can replicated endlessly, without variation even as the rapid metamorphoses of our actual ecologies demand of us other modes of perception, of feeling, of thinking. It becomes essential to forge new connections with the poetic density of place and the living beings that populate them, with a living world whose becomings remain always open, polyphonic, punctuated with entangled trajectories, with no promise of stability and indifferent to our interests and projects.

Promises

For this fourth season, Ça Remue ! brings together vernacular, artistic and scientific knowledge practices that question our uses of the world and re-makes them with a smile. They are bird-singers, anthropologists, shepherds, performers, philosophers, physicists, ecologists or landscape architects… Two days during which they will lend their energies to bringing us down from our supposed God’s eye view in order to welcome the world as it is. The university campus in St Martin d’Hères will be transformed into layer cake of experimentations with the invisible, neglected, silent constituents of our world – roots and rhizomes, textures of soil, the qualities of the water table, the sonorous punctuations of birds… – in order to foster more careful uses of the world. Centred around the Maison de la création et de l’innovation, weaving together performances outdoors with debate indoors, these two days aim to multiply our modes of collective intelligence and alliances of knowledge-practices.

Pré-program 

Marie-Pascale Dube (1st day / Maison de la création et de l’innovation)

This actor-performer has expressed herself with sounds since childhood, sounds that she cannot really describe or explain, sounds that escape from her throat while retaining the obstinate presence of other states and other places from her body. Breaths, groans, vibrations, gasps, nothing in her songs resembles a well-tempered voice in the West. Marie-Pascale Dubé would later come to understand that these sung forms have already existed within First Nation traditions of throat singing. She undertook an apprenticeship with an Inuk mentor, an experience that not only changed her vision of the history of her native country, Canada, but unsettled her own personal history, her relationship with nature and the cosmos. Her song continues to evolve in her, to surprise her, to go beyond her and to draw its own trajectory.

Douglas White (September, October / Siting of the work in progress)

This UK artist works for several weeks on the forest floor to unearth the root systems of trees. Through careful extraction of layers of humus, using the tools and methodology of an archaeologist, Douglas opens a window on the inextricable networks and fragile interactions from which the bonds between different trees, shrubs, bushes, mushrooms that make up this undergrowth are woven. The most recent scientific observations are joined here by the forester’s vernacular knowledge and the artist’s intuition: each forest rests on an underground world of infinite collaborations and signals between different species that escapes human observation and therefore remains neglected. Yet, woven together underground with thousands of miles of living fungal yarn, the trees feed and heal each other. This mycorrhizal under-carpet connects trees in gigantic intelligent communities which sometimes extend over hundreds of hectares.

Pierre & Rémi Janin (day 1 / Siting of the work in progress)

These brothers are architects, famers and landscape architects. The work of the farm – the movements of livestock and ploughing – are at the heart of landscape practice. They take into consideration, in the most powerful sense of the term, the surrounding environment, the poetic density of the place, the living beings that populate it to think about the specificities of territorial becomings.

Laurent Four (day 2 / Departing from the Maison de la création et de l’innovation)

This shepherd gives performances that are difficult to describe in words, somewhere between a happening and therapy, whose aim is to help us rethink and re-experience the place of domesticated animals in human societies. A subtle and silent diplomacy of body, gesture and look.

Bird singers (day 2 / Departing from the Maison de la création et de l’innovation)

These mimics invite us on a walk through the landscape, listening for the virtuosos hidden in the undergrowth – blackbird, song thrush, Eurasian nuthatch, black-headed warbler, swift pouillot, chickadee, red throat – and responding with uncanny likeness, provoking remarkable conversations improvised on the day with the different species present.

Alexandra Engelfriet (day 2 / Siting of the work in progress)

This Dutch artist struggles with telluric depths, the geological memory under our feet, working directly with the smells and the raw matter of the silts accumulated over the centuries, sculptural undertakings in which she disappears in a form of trance that leaves a trace in the material, bruised and sensual, abandoned without retouching or remorse.

Rachel Gomme (day 2 / Departing from the Maison de la création et de l’innovation)

This performer composes intimate exchanges with the world, inviting us to attend to the shared movement of our breath and the wind through branches, the silence of the trees and the stillness of the body, in order to widen our perception of the lived landscapes.

Jordi Galí et la compagnie Arrangement provisoire (day2 / forecourt of the Maison de la création et de linnovation)

BABEL is a tower 12m high, a utopia assembled and animated by 25 performers live in front of an audience. From its construction to its dismantling, the tower echoes the group on the ground, translating the quality of the relations present. A collective work, powerful and fragile, intimate and monumental. 

Artist / researcher conversations (day 2 / Maison de la création et de l’innovation/ from 10 a.m. to 6 p.m.)

Ça Remue ! continues paysage> paysages tradition of conversations between worlds. Each hour, and for one hour, invited artists, researchers, carriers of vernacular knowledge come together as a duo or a trio in conversation. This exchange is punctuated by questions from our accomplices from previous seasons – Alexandra Arenes, Maryvonne Arnaud, Daniel Bougnoux, Yves Citton, Caroline Duchatelet, Chloé Moglia, Nastassjia Martin, Mathias Poisson, Olivier de Sépibus, Henry Torgue, Martin Vanier….

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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/

 

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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/

 

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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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