Animality / humanities / vernacular knowledge

As we witness the collapse of animal populations, it seems urgent to document and symbolize the contribution of animality in the humanization of humanity.

By observation and imitation, humanity has acceded to an animal intensity of sensations which completes ours. The paintings of the Lascaux or Chauvet caves testify to the distances of this dynamic complicity. Wild or domesticated, animals have broadened the consciousness and perceptions of humanity and it would be a terrible regression to accept the sharing of the world between the industrialization of “useful” animals and a generalized ecosystem desert.

To improve our quality of life, we need to recompose human societies in order to facilitate the stay, development and movement of animality, that is to say, to carefully put together entanglements of spatialities and temporalities that do not bow to human interests and projects. It is not a question of preserving enclaves, zoos or genetic banks, but of reinventing a welcoming society for this reservoir of escaping vivacities, a necessary condition of a vivacious and promising humanity.

Because animals participate in the stability of human societies by their work, their affection, the irreducibility of their behavior. They form the humus necessary for the humanization of humanity.

Our initiative, whose form is still confidential, will involve many authors, crossing the approaches of livestock practitioners, shepherds, trainers, artists and researchers to build publically sharable symbolizations with as many people as possible.

landscape-animal

There is no virgin nature. There are only territories where the living are deeply inscribed and composed day by day, transforming them by their mere presence, by their breathing, by their capacity to invent unheard-of uses – nibbling the soil, weaving the drafts, flirting with water and the sun in unlikely alchemy. Each landscape crystallizes this proliferation of relationships, initiatives, tactics and special effects, this jumble of entangled trajectories, indifferent to human interests and projects, but where the human slowly emerged.

It is from the perspective of this interwoven construction of the landscape by humans and animals that we will approach the season 03 landscape> landscapes from March 20 to June 20, 2019. Here are some highlights of the program:

Between dog and wolf > Antoine le Menestrel > “Cathédrale” de Voiron > March 23, 2019 at 19h In opening of landscape-landscape

Building on an essential monument of the city, the church of Saint Bruno located in the heart of the city, Antoine le Menestrel undertakes with bare hands and for 40 minutes the vertical ascent of the facade to reach the sky to 67 meters from the ground, as if gravity did not concern him. The dialogue is fragile, delicate, magnetic between this disproportion of the building and this body, the arrogance of this little human animal, this bird made man, lizard until the central rosette, fluttering around the clock, before to run your head upside down between the warheads and cornices. Virtuoso verticals, Antoine the Menestrel touches the stone, the caress of a finger before taking it to the body and rush to meet the gargoyles, climbing without apparent effort to the top of the steeples.

Between dog and wolf
Antoine le Menestrel
Opening of paysage-paysages
Eglise Saint Bruno de Voiron
> March 23, 2019

La vigie Abraham Poincheval > Vizille Domain Park > Device visible from Thursday, May 2, then performance 24h / 24 from Thursday, June 6 to Wednesday, June 12, 2019 

For a week, 24 hours a day, Abraham Poincheval lives in a sculpture. Nestled on top of a mast, like a monkey or a hawk, he watches and contemplates the city of men: “Installed on a platform of one meter ninety long and a meter wide, I stay a week in total autonomy. At this raft of the peaks, I am attached by a lifeline and all the equipment on board: a waterproof bag, a first aid kit, meals for a week, two jerrycans of nine liters, a red and a white , a watertight can, trash bags, a gas stove, kitchen equipment, two lighters, toilet paper, change of clothes, a high mountain sleeping bag, a rain cover, a cloak rain, a sleeping mat, a headlamp, a climbing harness, a dozen carabiners, a rope of thirteen meters. By this spectacular gesture Abraham Poincheval questions our animality and the unstable border between species. But this installation is also anchored in a very old imaginary, in particular that of Symeon le Vieux (392-459), monk of Syria, nicknamed the Stylite for having chosen to live his life of hermit at the top of a column (pens , in Greek), where he spent the rest of his days without ever descending, in the absence of any protection from the sun or bad weather. The faithful visited him during his lifetime, the food being given him in a basket pulled by a rope. Subsequently, a vast pilgrimage complex northwest of Aleppo, called Qalaat Siman, was built around its column. Other saints lived like him at the top of a column or at the top of a tree. These extreme gestures paradoxically express the elevation of the soul through reading, prayer and humility, and how asceticism is a daily struggle.

“La vigie”
Abraham Poincheval
Vizille Domain Park
June 6 > Wednesday 12

 

Sentinels > Victoria Klotz > Vizille Domain Park > 20 March> 23 September 2019

Implanted in majesty in the park of the Domain halfway between the domesticated nature of the French garden and the animal park, “The sentinels” is a monumental installation composed of ten animals which overhang us since long mats stuck on the ground. At once close and inaccessible, these animals observe us as well as we observe them. The animal species chosen: a wolf, a chamois, an owl, a marmot, a wild boar, but also a zebra or an antelope, have a fascinating and spectacular presence, joyous, sensual and serious. “Sentinels” thus evoke a kind of elemental animal as did the totems of the Amerindian tribes, that is to say, a founding animator, mediator, ambassador of the distant living, of immemorial origins, but an animality whose However, the future seems so uncertain today that it must return to the center of our concerns and our social order.

Sentinels” (détail)
Victoria Klotz
Vizille Domain Park
20 March > 23 September 2019

 

Dialogue with a herd > Alpine pastures federation> Domaine de Vizille park> 3 May> 6 May 2019

How to approach a flock without fear and without putting oneself in danger? How do animals see, smell, experience the world? How to contact and communicate with animals? The “Dialogue with a herd” workshops offer an unprecedented opportunity to live an unforgettable experience close to alpine animals. You will never look at a flock again with the same eyes.

Dialogue with a herd / Alpine pastures federation
Experimentation open to the public on May 3rd, 4th, 5th and 6th at 10:00 am (Duration: about 2 hours)

 

Water Memory > Cyrille André > Park of Vizille Domain : May 2 > September 23, 2019

A white whale swimming in the air between the tree casks of Domaine de Vizille invites us to cast off and abandon ourselves to daydreaming. Have whales thus crossed Vizille at the time when the Tethys, the primitive ocean, covered the whole of Europe? Has she escaped Noah’s Ark or is she swimming after a catastrophic rise in sea levels caused by extreme global warming ?

Water Memory
Cyrille André
Park of Vizille Domain
May 2 > September 23, 2019

 

Common property > Victoria Klotz > Domaine de Vizille Park: May 2 > September 23, 2019

If the common property is a moral notion that refers to the idea of a shared heritage among all members of a community, it is important to consider the possibility of integrating animals into this community. One could consider that domestic animals are “part of the people” and that they have an indisputable place in the use of the commons. This is why the artist installs bird boxes for the Colvert canes living in this site of Vizille, collective property, linked to the history of the French Revolution and to this perspective of shared common property.

Maibaum > Jordi Galí – Cie Arrangement Provisoire > Domaine de Vizille Park > Saturday May 4th at 2pm and Sunday May 5th at 11am

Maibaum is a monumental volume, consisting of 8000m of meticulously woven string carefully woven by five performers, whose form appears to us at the end of the performance, revealing the meaning and the necessity of each gesture produced. During the two and a half hours of its development, the spectator will be free to come and go as he wishes to assist and experience this space being created. (in co-production with PACIFIQUE – national choreographic development center)

Maibaum  Jordi Galí – Cie Arrangement Provisoire
Photo@jeanpellaprat

 

Ça Remue ! (It moves !) > Parc du domaine de Vizille : 2 > 8 May 2019> with the support of IDEX Université-Grenoble-Alpes > in collaboration with the laboratories PACTE, LECA, CRESSON, LARHRA, the House of Human Sciences, the Federation Alpine pastures of Isère and the PACIFIC

: Plus d’information > le programme de Ça remue à Vizille

Each landscape is the heir of precarious balances, the index of lush and unstable dynamics between atmosphere / soil / plants / animals / humans. In this sense, it is always the index of a state of relations. Carefully observing a landscape can decipher relational logics past and present, and helps us discern the toxic components of its future state. The state of the premises seems alarming but we inherit immemorial innovations that we must reinvest: and the relational territory involving bees, flowers and beekeeper, or transhumance granting alpage + sheep + sheep + dogs + wolves.

On this promising soil, artists, researchers and animal practitioners gather in Vizille from Thursday 2 to Saturday 4 May to cross their approaches and to found new relationships between living species, new behaviors, new evolutionary directions that preserve , renew and amplify the quality of ecosystems. Every day, outdoor performances and experiments will allow us to play, test and deepen our animal relationships. These experiments involving animals and art installations will be extended beyond May 8th.

Ça Rumine ! (That Rumin ! ) > University Campus of Gières / Saint Martin d’Hères > Meeting-debate day at Sciences-Po on April 16, 2019 around the project of a permanent pastoral establishment on campus > with the support of IDEX Université-Grenoble-Alpes > in collaboration with the laboratories PACTE, LECA, CRESSON, LARHRA, the House of the Sciences of the Man, the Federation of Alpine pastures of Isère

: Plus d’informations > le programme de Ça remue sur le campus de Grenoble

This is an exploratory work gathering professional breeders and alpaculturists, scientists and artists. Our first guests are: Bruno Caraguel, director of the FAI, pastoralist engineer and sociologist, Laurent Four, sociologist of development and shepherd, Guillaume Lebaudy, ethnologist of pastoral and transhumance cultures, Jean-Marie Davoine, shepherd specialist in the domestication of animals breeding, François Pompanon, director of the laboratory LECA, specialist in the domestication and genomics of ruminants, Jean Estebanez, geographer specialized in staging devices for zoological gardens and animal work (…) This list will be completed in particular with users of the campus – teachers, students, agents and carriers of experiences in other campuses in France or abroad.

Device for staging zoos and animal work (Image Maryvonne Arnaud)

 

Ça Remue ! (It moves !) > University Campus of Gières / Saint Martin d’Hères > Each month, the House of Sciences of Man will host for one hour an author talking about an animal and its specific link to the territory, to amplify the awareness the importance of animals in the production of landscapes. Researchers, authors, artists invited on the occasion of season 3 > landscape > with the support of IDEX University-Grenoble-Alps > in collaboration with the laboratories PACTE, LECA, CRESSON, LARHRA, the House of the Sciences of the Man, the Federation of Alpine pastures of the Isère

  • > That Booty ! Tuesday, March 5th from 12:15 pm to 1:30 pm around pollinating insects> with Emmanuelle Porcher, professor at MNHN and researcher at CESCO (Center for Ecology and Conservation Sciences, Paris) specialist in biodiversity and pollination 
  • > It climbs ! Tuesday 12 March from 12.15 to 13.30 around the chamois> with Anne Loison, CNRS research director, who develops the program of activities of the Alpine Ecology Laboratory (LECA) around the issue of dynamic plant-herbivore relationships in the mountain environment
  • > It Flairs ! Tuesday, April 2 from 12:15 to 13:30 around dog / wolf / human / territory relations> with Nicolas Lescureux, ethno-ecologist, CNRS researcher at the Center for Functional and Evolutionary Ecology (CEFE) 
  • > Question: animals in the Renaissance landscape ? > with Nadeije Laneyrie-Dagen, art historian, about the function and the symbolism of the representation of animals in animal painting. > Hébert Museum, Hébert Road, 38700 the face, Thursday, April 11, 2019, 6:30 pm
  • > Flush the landscape; an exhibition of Olivier de Sepibus (in residence at the LECA laboratory) Arboretum of the University Domain / from April 5 to June 21, 2019 + Performance art > science in situ around the exhibition on Thursday, June 20 from 17h to 18h30

Olivier de Sepibus
Flush the landscape
Arboretum du Domaine universitaire de Grenoble
5 avril > 21 juin 2019

 

  • > Go, Toto !  > screening of Pierre Creton’s film and debate with the author led by Robert Bonamy, senior lecturer in film studies at Grenoble Alpes University. > Mon Ciné Cinema, 10 avenue Ambroise Croizat, Saint Martin d’Hères, on Thursday, May 2nd, 2019 at 8:30 pm

Image extraite du film Secteur 545 de Pierre Creton

 

Architectural birdhouses > Maison de l’Architecture de l’Isère > 21 March> 21 June 2019 / in partnership with the National School of Architecture of Grenoble, the League of Bird Protection, the Rectorate

In association with the Maison de l’Architecture, we will offer ENSAG students, as well as professional architects and all the inspired, to design and build a birdhouse. All the cabins will then be exposed to the M.d’A during the 3 months of landscape> landscapes. Each construction will have to offer a comfortable refuge to the birds, adapted to its way of life, each species looking for different spatialities for singular uses. Through this contest, it is the attention to the place of animals in the city and their preservation is mobilized here. Simple poetic or extravagant cabins, miniature houses or palaces of the Thousand and One Nights, the works resulting from this call for participation will be assembled in a set welcoming the infinity of animal diversities.

> Appel à projet de micro-architectures

> Télécharger l’affiche

> Le règlement du concours

> Les lauréats du concours

 

Alban de Chateauvieux > Lost > VOG, art center of Fontaine> March 7 to May 4, 2019

On January 12, 2007, Alban de Chateauvieux stops in the middle of the street in front of a little placard bearing these words written in blue chalk “LOST PIGEON WHITE”, followed by a telephone number which is missing a number. This small paper hanging on his only piece of Scotch, was a revelation for Alban who, since then, collected over the course of his travels posters of lost animals. This exhibition honors extinct animals whose singular life has counted and whose absence reveals their emotional importance. They are all clearly individualized and carrying singular qualities, one beautiful, affectionate or tender, the other accomplice, reliable, funny or faithful. Each message of distress testifies to this established complicity and the intense relational link built day after day between a human being and an animal being, a form of broken harmony. For companionship familiar with animals reflects a relational need that goes beyond the scope of social exchanges to express other emotions, other scales of ourselves, difficult to express between humans. The animal parts of oneself, maybe, or fragments deeply buried and inaccessible without the help of these animal accomplices who intercede with other worlds or translate them, sliding without fear of vertigo on the edge of a window to blend in with the night or inhale carefully a breath of air laden with riddles.

> Alban de Chateauvieux
> Collection des animaux perdus
> 7 mars au 4 mai 2019
> Le VOG, centre d’art de Fontaine

 

François Génot > Charcoal >Jules Vallès, Art Gallery of Saint Martin d’Hères> April to May 2019

François Génot is attentive to a certain savagery that remains or reappears in the wastelands, the neglected spaces of our urban environment. The spontaneous and irreducible emergence of the living, the disorder of the forms and the vegetal and animal dynamics are at the heart of his work. During his scouting on the sites near the place of exhibition, he picks brews of branches that he transforms into charcoal and then draws with the charcoals obtained directly on the wall. The movement of his hand generates forms of appearances as disjointed, neglected, carefree as that of the young shoots in spring, that is to say, fuzzy, open, disconcerting forms that project and explore all the possibilities offered to survive . And our viewer’s eye is invited to enter the depth and complexity of the drawing to delve into the enigmatic presence of the living.

> François Génot
> Charcoal
> avril à mai 2019
> Jules Vallès, Galerie d’art de Saint Martin d’Hères

 

landscape in motion

The Season 02  paysage>paysages program is designed with sustained attention to the entanglement of movements that punctuate the landscape and stretch the course of the world. It is called “landscape in motion” because the 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 ….

Landscapes are traversed by vast imperceptible movements – star drifting, melting glaciers or silent migration of plants and forests continually testing the soils, prevailing winds and exposures. Landscapes are also witnesses to the migrations and transhumance that characterize the entire animal kingdom, swallow eel, a great drive that moves the living on the surface of the globe without compasses or onboard geolocation system. Each of these travelers takes away seed-drenched droppings, exogenous bacteria and renewed chants that reshape ecosystems and our imaginations. The dynamics of the landscape are still made of unexpected accelerations: avalanche, thunder or storm. The landscape then resumes its full place, a brutal savagery that overflows us and imposes itself beyond the time of the human species.

But landscapes are mostly reconfigured by human activities and circulations. Our daily experience of the landscape rarely consists of watching him sit on a bench, but more frequently to cross him distractedly sitting at 130 km / h. Also, contrary to the route too well drawn of the main road projecting us as soon as possible to a specific destination, this season 02 landscape> landscape offers you to walk available at random and the unexpected, attentive to all meetings, to enjoy the passing of time, the changing weather, to forget the certainties or worries to leave the escape to the point.

Here are the first highlights:

> The landscape makes its cinema,

  • A film of films designed by Agnès Bruckert accompanied by a concert live with Actuel Remix (Xavier Garcia and Guy Villerd)
  • Esplanade of Bonne in Grenoble, December 21 from 17h to 21h
  • (Resumed during the cycle It stirs in the auditorium of the museum of Grenoble the 2, 3 and 4 March 2018 from 10 to 18H, without interruption

Learn more : https://youtu.be/V4j-D6xYr_Y

While circulating thanks to the fingering of Agnès Bruckert among the most virtuoso filmmakers of the world cinema, we discover how each film entangles intimately in a common space the characters in the foreground and the background where the story seems to anchor. Wide shot in false connections, the landscapes shape our perceptions, prepare and anticipate the action, sometimes overflow to invade the screen, break with the wire of the narration, swallow the characters and disorient us.

Low sordid or sumptuous panoramic neighborhoods, many landscapes have left in us a footprint that deeply structures our sensitivity and our identity. It is this paradoxical identification with a totally moving fiction that the ARFI duo “Actuel Remix” amplifies by accompanying the flow of images, punctuating it with instant soundscapes.

 

> Atlas of displacements,

  • An exhibition designed by Guillaume Monsaingeon with the works of Cécile Beau, Christo, Nicolas Consuegra, Fernand Deligny, Caroline Duchatelet, Cédrick Eymenier, Ymane Fakhir, Christoph Fink, Eléonor Gilbert, Chris Kenny, Lucien Le Saint, Francis Limérat, Hans Op de Beeck, Quadrature (Juliane Götz + Sébastian Neitsch), Claire Renier.
  • Musée Hébert from 21 December to 21 March 2018

This exhibition brings together our perceptions and tools of figuration of the territory. The works collected in the Atlas of the movements record the landscape with scales ranging between 0 and 30 000 km / h, slow movements, almost immobile, imperceptible of the geological or climatic, our jerky social movements, our wanderings and our uncertainties, our regular or habitual movements, the movements of animated beings and the mechanics of machines that have become essential to the control of our own movements and to the knowledge of territories.

  • Quadrature (Juliane Götz et Sebastian Neitsch). Satelliten trace in real time the trajectory of satellites passing vertically from the Hébert museum. During his visit, the visitor of Atlas of displacements will be able to see several times the digital device come to life to reveal a landscape agitated by the race of the satellites. The square of 10 centimeters of side (300 kilometers) will gradually blacken the hypsometric map (altitudes) of a Quillet atlas over the three months of exposure.

 

  • Caroline Duchatelet : Mercredi 4 novembre (2009). For 9 minutes, Caroline films a mountain landscape in winter, where clouds and light recompose and erase the apparent stability of the rock mass. This landscape captured on November 4 is both eternal and instant, present and absent, already there for a million years and yet disappeared in a few seconds.

 

  • Cécile Beau (France, 1978). Each stone constituting the Particles series is presented in two forms: the intact mineral arranged on the wall, and the sand-reduced stone feeding an hourglass whose size corresponds to its geological time scale. The installation expresses the imperceptible temporalities of the minerals, which work discreetly under the visible landscape.

 

  • Nicolás Consuegra (Colombia, 1976)Shot on different sites in Honda, Colombia, on the banks of the Magdalena River, The water you touch is the end of what has happened and the beginning of what happens (2013) shows the continuity of a river flowing endlessly and without fitting. The immobility of the movement is expressed in the calm of an infinite loop.

 

  • Francis Limérat (1946, Algiers). The poet Kenneth White, great figure of the path, writes about this series of “clear-ways”: The art of Limérat is an anxious groping which, little by little, slowly, finds satisfactory coordinates; it is a complex entanglement in which, thanks to an erratic, but sensitive, subtle writing, one ends up seeing clearly, by setting benchmarks. As with the “stick maps” of the Marshall Islands, with which canoe pilots find in Pacific waters the best trajectory from one island to another depending on the orientation of the wave ridge, our look here walk in balance on the wire of the imperceptible.

 

  • Fernand Deligny (France, 1913-1996) is not strictly speaking “author” of the present drawings. Founder in 1968 of a network of care for autistic children in the Cevennes, he invented collective mapping practices that fascinated Deleuze and Guattari and irrigated innumerable artistic practices. These cards are not used to understand or interpret the behavior of children, but to keep track of these lines and detours often done aimlessly. Remedies to the impossibility of saying or refusing to name, these drawings constitute a kind of atlas of unpredictable movements and singular modes of being: “we live in time,” wrote Deligny. They live in space, see what does not concern us “.

 

  • Éléonore Gilbert (France). “Espace” is a 14-minute film (2014) where, with the help of a sketch, a very funny little girl explains, drawing with support, how the space and the games are distributed during the break, in particular between the boys and girls, and how that poses a daily problem. Despite her various attempts to solve this problem, she does not find solutions, especially since it goes unnoticed by others, children and adults, who do not seem to be concerned. We then discover the subtleties of a geopolitics of public space on the scale of a schoolyard.

 

  • Hans Op De Beeck (Belgique, 1969) In Staging Silence
  • Hans approaches the landscape with humor, producing images of landscapes as archetypes suspended in our memories. Behind an implacable and clinical staging, he assembles eclectic and derisory objects – powdered sugar or soap bubbles, to recreate floating images, uncertain, melancholy and poetic places between the scenery of forgotten films and the iconography of Asian restaurant around the corner.

 

Read more : “Art catalyse” :

Read more : “Mythologies du paysage” 

 

> Displacement graphies

  • An exhibition of Mathias Poisson
  • VOG – Fontaine Art Center, from December 7 to March 31, 2018

The subjective maps of Mathias Poisson are reductions of the landscape by decoction. He notes his walks on his notebooks, attentive to the slightest event but cultivating a deliberate absence of hierarchies between the information he records. Then he distills and infuses the objects and plants he meets to extract the inks from his drawings. He then composes a sensitive card, a kind of condensed place that invites him to follow suit. It presents here a series of crossings of the landscape through cities as different as Marseille, Tokyo, Naples, Algiers or Istanbul, then during a second exhibition it will make us discover the original works realized during 5 stays in Isère.

Read more : “paysages de traverse”

> Defeat Mountain

  • An exhibition of Olivier de Sepibus
  • Garden of Musée de l’Ancien Évêché of Grenoble, from December 21 to March 21, 2018

Olivier de Sépibus surveys the Alps to capture the interior movements of glaciers and rocks, faults, breaches, fractures, slow dislocations, sharp breaks and landslides. The seemingly eternal mass appears strangely fragile and tormented, and its solid presence seems to belong to a provisional stage of earthly history. Its photographs update our imaginary of the high mountain by fixing frontally the current state of alpine massifs which slowly defeated in stone desert, bringing with them the dreams of conquest and heroism of a man “master and possessor of nature”. Because, if our representations are defective, they still populate the postcard display stands.

Read more :  “Les images (im)mobiles” d’Olivier de Sépibus

 

> Powered landscapes

  • An experiment conceived by the composer Henry Torgue at the initiative of the CAUE de l’Isère
  • Friday, January 12, 2018: bus trip from 2 pm to 4 pm Reception at 1.45 pm at the Porte des Alpes Territory House – 18 avenue Frédéric Dard in Bourgoin-Jallieu.
  • Friday, February 2, 2018: bus journey from 2 pm to 4 pm Reception at 13:45 at INSPIRA in Salaise sur Sanne.
  • Saturday, February 3, 2018, bus ride from 10 am to 12 pm. Reception at 9:45 am at the CAUE Isère – 22 rue Hébert in Grenoble. On the return, snack (on registration) in transition with the round table of the afternoon.

 

These listening landscapes take the form of a bus trip …. For passengers, behind the windows of the bus, pass the passive images of a usual journey. But in the speakers, a whole world of sounds comes to tell other stories, transform the daily landscape into a decor, upset the imagination.

This gap between listening and seeing allows us to renew readings and perceptions of our familiar landscapes. By slightly increasing the intensity of the ambient sounds or by listening to other sound situations recorded in the same space, the scene becomes “talking”, takes an unexpected relief that reveals the complex relationships between sight and hearing and, d on the other hand, between the real and the imaginary. Because amplified listening approaches a film soundtrack, giving access to the symbolic potential of places, carriers of fiction, memories and dreams.

The three bus tours of “listening landscapes” are accompanied by the researcher and composer Henry Torgue and the landscape architects of the Urban Planning and Environment Council of Isère.

 

> STOPPING ON Image

  • An experiment conceived by the company of street theatre Delices DADA, proposed successively in 4 sites of the department: Bourg d’Oisans, the Vercors, Isle d’Abeau and the territory of Vienna, with each time 4 departures of bus a day

During 120 minutes you are invited to visit with the company Delices DADA the ordinary places of your daily life. Comfortably seated by bus, you can slide the picture traveling through the windows.

But four stops in landscapes meticulously chosen by the company upset your perception. These freeze-outs propose to take the landscape backwards, to interpret it in a totally unknown, crazy and poetic way but so stimulating that from the return of the coach to the point of departure, one discovers the desire to taste a new peregrination …. Here are some postcards :

And 2 landscapes to guess while listening these sound punctuations:

 

Operating  : Access is free but the reservation is required at 04 76 00 31 21 from 9h to 12h and from 13h30 to 18h from Monday to Friday

> 4 bus departures per day at 10 am, 11 am, 1 pm and 2 pm (duration of the tour> approximately 120 minutes

  • January 20, 2018> Bus departures from Bourg d’Oisans / Municipal Foyer of Bourg d’Oisans
  • January 27, 2018> Bus departures from Lans en Vercors / Le Cairn / 180 Rue des Ecoles
  • February 10, 2018> Bus departures from Villefontaine / Vellein Theater Parking / 118 Avenue du Drieve
  • March 10, 2018> Bus departures from Vienne / Ponsard College / 1 Place André Rivoire

For your comfort, plan for shoes and clothes adapted to winter weather conditions, water and possibly a small energetic snack!

> Lieux-dits, un précipité de vies

  • An exhibition designed by Philippe Mouillon with the scientific collaboration of Jeanine Médélice
  • Musée de Grenoble, from February 8 to March 11, 2018

The few hundred words left on the floor of the central aisle of the Grenoble museum are a summary of the thousands of names of places that titrate – or rather subtitle, with care landscape.Ces fragments are tenacious – some words plunge their roots in a time before the Roman occupation, and were so often chewed and pronounced by new mouths that their senses today outcry but continue to be troubled and escape us: Vipéreuse, Miséroud, Mal-Pourchie, Les Écondues, Les Écorrées, Les Embouffus…  the word is there, without being there. He belongs to a language, the ghost of ours.

 

 

 

Landscape >landscapes

Landscape> landscapes is an original event of a new type, presented on the 7,431 square kilometers of the department of Isère, in France, during the 3 months of autumn 2016.
It is carried by the Department of Isère, on an artistic proposal of Laboratory.
Landscape> landscapes is a program associating a multiplicity of actors coming from culture, heritage, nature, spatial planning, education, research, higher education, mobility, tourism, ….
Based on the obvious qualities of the landscapes of Isère, our objective is to develop and share a new territorial imagination. For in the era of globalization amplifying technical standardization and standardization of lifestyles, specificities remain which are neither tensions of identity nor memory traces. It is our trajectories in this particular environment that form a heritage and whose narrative we want to explore by associating innovative artistic initiatives with collaborative and playful forms open to the greatest number.
In his recent study for Datar, the philosopher and sociologist Bruno Latour describes this actuality: “our spatio-temporal framework has become untenable. It is a transformation of all places, all territories, which undergo differently the same effects of disorientation by the discovery of world dependencies and unexpected attachments. There is at the very heart of the idea of ​​territory a contradiction that must be clarified if one wants to be able to reconnect the real territory with credible and reassuring representations. (…) Can we render habitable, that is to say, habitual and even comfortable, reassuring, familiar habits of such variations in our new spatio-temporal framework? ”
In this sense, landscape> landscapes must make comfortable and explicit our close territory, generate new representations, translate unknown uses, anticipate practices, make this territory our common good.
Many artists and authors, from all disciplines intervene in the 7431 Km2 of the department. Here are some of the 160 scheduled appointments:

  • Chris Kenny “in the middle of nowhere” at the Musée Hébert de La Tronche from September 16 to April 30, 2017,

  • Yann de Fareins “Isère, on the edge” in the courtyard of the Museum of the Old Evéché in Grenoble from 16 September to 15 December 2016

,

  • Henry Torgue “concert of landscapes” at the Ancient Theater of Vienna and the MC2 of Grenoble on 17 and 18 September 2016

  • Mathieu Pernot “inhabited landscapes” in the MC2 Hall from 16 September to 17 December 2016,
  • As well as “the great ensemble” at the House of Architecture from 8 November to 16 December 2016,

  • Daniel Bougnoux, Patrick Chamoiseau, Christian Garcin, François Jullien, Jacques Lacarrière, Marie-Hélène Lafon, Céline Minard, Alain Roger, “The Landscape: Words for Words”, a proposal by Philippe Mouillon at the Musée de Grenoble October 16, 2016

  • Jeremy Wood “true places” at the Vog de Fontaine from 5 October to 5 November 2016

  • Ingrid Saumur “curvature of Drac and Isère” at the house of architecture from 6 October to 4 November 2016

To learn more and discover day by day the whole program: paysage-paysages.fr

Landscape Surveys

The first session of the Landscape Surveys entitled Four Centuries of Digital Landscapes? was held on Wednesday 21 October 2015 at the Musée de Grenoble, on the occasion of the exhibition paysages-in-situ, presented at the Musée de Grenoble and the Musée Hébert from 19 September to 2 November 2015 and extended to 18 January 2016.

In presence of: François Jullien (philosopher and sinologist), Guy Tosatto (director and chief curator at the Musée de Grenoble), Laurence Huault-Nesme (art historian, director of the Musée Hébert), Jean Guibal Daniel Marnaud (architect), Joël Candau (anthropologist), Guillaume (architect), Daniel Bougnoux (philosopher), Michael Jakob (landscape historian and theorist), Maryvonne Arnaud Monsaingeon (philosopher and curator), Alain Faure (politiste), Henry Torgue (sociologist, composer), Luc Gwiazdzinski (geographer, director of the Institute of Alpine Geography), Philippe Mouillon (artist)

Animated by Chloë Vidal (philosopher and geographer), this first survey of landscapes proposes to renew our gaze on the landscape, to ask ourselves “what made landscape” at the time of the digital life,

Digital landscape extracted from landscapes-in-situ (2015) latitude: 45,182 / longitude: 5,696

As a prelude to this seminar, Le Méliès in Grenoble, presented a preview of Patricio Guzman’s latest film, Le bouton de Nacre. The session, introduced by Bruno Thivillier, director of Le Méliès, is followed by a conversation between Patricio Guzman, Yves Citton (philosopher, professor of French literature of the eighteenth century at the Stendhal University of Grenoble 3) and Philippe Mouillon.

This film blends poetry and politics wonderfully, using nature in an astonishing and magical way: there are landscapes populated by immense silent glaciers that blend with majestic fjords – immutable witnesses of the past, but also tormented oceans and planets lost in The infinite of the starry heavens. These images of a wild and primitive nature, filmed like that of a forgotten planet that would be almost intact and virgin, bring us back to a world of origins where, little by little, through the black and white photographs of Indians ” Fueguinos “emerge the unknown faces of the missing people.

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Martin Gusinde “Esprits du rituel Hain”   photographie (entre 1918 et 1924)

“These natives lived for thousands of years in Patagonia, and belonged to several groups (the haush, kaweskar, and sélknam), and they spoke mysterious tongues, nomads of water, Island in the island, guided by the stars “ Patricio Guzman

Than, François Jullien  develops a conference at the Grenoble Museum’s auditorium (animated by Daniel Bougnoux) entitled “Living from Landscapes“: “Landscape is a resource that is accessible to everyone because it does not involve learning. The fact that the landscape is local and makes the world, is borne by a totality, is important for the subject, the landscape opens the room on its transcendence , It is a whole of the world, it is essential to the contemporary experience. “

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Martin Gusinde “Spirits of the Hain ritual” photography (between 1918 and 1924)

  “In what way is a landscape exemplary of the diversity to be promoted in the world to come? But first of all in that it is a landscape, if it is precisely that one passes from the dreary extension – Uniformity – from space to the intensity of a place – for the more it creates diversity and, consequently, tension, the more a landscape is actualized: a landscape is this extensive. Makes us pass from knowledge to connivance, it tilts into intimacy and complicity, dwells at the same time that we inhabit it, who knows not how much a landscape is a resource, that we draw there indefinitely. Its tension, it reactivates us and harmonizes us at the same time? “ François Jullien

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Guo Xi “Early spring” Ink and light colors on silk (1072) Taipei Museum Collection

 

“Looking at one thing and seeing it are two very different things, you only see something if you see the beauty … Now people see fogs, not because they are, but because Poets and painters have taught them the mysterious beauty of these effects.Flowers may have existed for centuries in London, and I dare say that there were, but no one has seen them and so we do not know They did not exist until the day when art invented them. ” Oscar Wilde The Decline of Lying (1928 page 56)

Landscapes-in-situ

Where was the artist when he painted or photographed this landscape? This is the enigma that invites you to solve a game posted on the site www.paysages-in-situ.net, or available free by downloading the landscape-in-situ application compatible with all types of smartphones. This game proposes to choose one of some 300 paintings and photographs of landscapes of the Isère from the collections of the Museum of Grenoble, the Hebert Museum of La Tronche, the Dauphinois museum and the library of studies of Grenoble. It consists in finding the exact position where the artist was when he painted or photographed this landscape, and invites you to realize from this point of view a replica in photography or drawing or with digital mapping software such as Street view.

The best interpretations are exhibited during the Journées du Patrimoine from September 19, 2015 to January 18, 2016, at the Musée de Grenoble and the Musée Hébert de La Tronche. Then in the fall of 2016, benches will be installed on each of these geolocalized sites thanks to your answers, the landscape-in-situ application will allow you to understand the approach of the artists and to discover the replicas of all the participants.

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How to refine our perceptions?

Everything seems clear and limpid in the landscape, and yet everything is strange in this notion when one dwells on it. The landscape is no longer regarded today as it was formerly regarded, when the majority of the individuals were laborers of the land, pastors or laborers, or even more recently when our daily relationship with the outside world was not yet so frequently transited through The computer screen or mobile phone.

This word “landscape” appeared late in the main European languages ​​and at about the same time (around 1510), as if for a very long time the women and men who inhabited and practiced the territory before us had not felt the need To name this distant region. The word was used for the first time in Europe several years after the appearance of the first landscape paintings (made around 1495), and the word “landscape” first translated a painted representation before becoming a “portion of nature Which is offered to the viewer of the observer, “according to the definition of the dictionary Le Robert. This definition is also strange because it presupposes the exteriority of the viewer, that is, the face-to-face contact between nature offered, and an observer removed from the landscape, on which he brings a point of view, Which he observes without writing. Are we so sure not to be enrolled in the ecosystem of the environment that we observe?

Landscapes-in-situ (Paysages-in-situ) tries to sharpen our individual attention to the landscape, and to refine our collective perceptions by exchanging them, comparing those of one with those of others – tireless walkers or contemplatives posted at the window, Tourists of passage, native of here or heirs of other landscapes, mushroom pickers or photographers …. It is a question, in a way, of contributing by playing to make each one of us virtuoso in landscape.

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View taken in Saint-Egrève, near Grenoble, Jean Achard, 1884, oil on canvas 147 x 229 cm (collection Museum of Grenoble)

 

 

 

 

 

 

 

 

 

 

Process Overview:

Landscapes-in-situ (Paysages-in-situ) is a game within reach of everyone and offered to all – tireless walkers or contemplatives posted at the window, long-time residents or tourists of passage, native here or heirs of other landscapes, mushroom pickers or Photographers ….

Paysages-in-situ is an invitation to discover, observe and compare the works preserved in the museums of the Grenoble region, then to locate them by going to check in the real landscape the location where the artist was, there Is 150 years old, when everything has changed in this environment and which the painter had undoubtedly already sorted and composed at the time between the beautiful and the ugly, the luminous and the chiaroscuro, the fragile and the grotesque.

Surroundings 200 paintings and 100 old photographs on glass plates make up this landscape game. They are fairly rarely presented to the public (only 10% of the selected works come from permanent exhibitions). These are works from the collections of the Grenoble Museum, the Hébert Museum, the Musée Dauphinois, or the Bibliothèque de Grenoble, representing landscapes belonging to our nearby Alpine territory.

This landscape game invites everyone to compose a replica of the original view using all the tools available, from the newest ones, such as those of digital mapping, to the more classic ones such as pencil or photography. We are not so far from the copies executed by the amateurs in the museums of the end of the XIX century. But where the copying approach is lived today as a discipline, our proposal to interpret the landscape using all the tools available allows us to associate without reservation all the audiences, that of video games, Social networks, synthetic imagery, digital cartography, photography, drawing, writing …. This pragmatic choice makes it possible to cross the aesthetics by creating dynamic tensions.

Replica of Jean Achard’s painting (1884) by Christian Rau situating the site at 45,245 latitude and 5,686 longitude)

(Replica of Ernest Victor Hareux’s original oil (1892) by Andréa Bosio situating the site at 45,182 latitude and 5,774 longitude)

 

Paysages-in-situ  offers to everyone to publicly expose its answer, during a double exhibition from September 17, 2015 to January 18, 2016, at the Musée de Grenoble and the Musée Hébert.

Then in the autumn of 2016 everyone will be able to sit on a bench implanted very precisely thanks to the quality of the localities resulting from the collaborative process and will be able to consult on his tablet or on his phone all the information available on this work and to discover the replicas Invented by the participants.

We can imagine situations where the bench will find its place easily in the site, favoring the back and forth between the past and the present, between the landscape seized in the original work and the landscape of today. But it is likely that some sites will turn out so upset that the physical inscription of a bench at this particular location will appear strange, incongruous, or will simply be impossible. This hazard will open a new dynamic space of collective reflection on the contemporary condition of our everyday environment.

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View of the wall of controversies of landscapes-in-situ, in the museum of Grenoble (October 2015)

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View of the wall of controversies of landscapes-in-situ, in the museum of Grenoble (October 2015)

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View of the wall of controversies of landscapes-in-situ, in the museum of Grenoble (October 2015)

Paysages-in-situ is a proposal of the Laboratory, produced in partnership with> the Grenoble Museum> the Dauphinois Museum> the Hebert Museum> the Grenoble Municipal Library> the Old Bishop’s Museum, the House of Nature and The Environment> Grenoble Office of Tourism> the CAUE of Isère> the Méliès> the CNRS-PACTE Research Laboratory> the National Education (DSDEN of the Isère and DAAC). In a media partnership with the Dauphiné Libéré, the Petit-Bulletin and France 3 Alpes.

Landscapes-in-situ, a device for popular innovations around landscapes, is carried out with the support of> the Rhône-Alpes region> of Grenoble-Alpes-Métropole> of the Department of Isère> of the city of Grenoble> Culture and Communication, within the framework of calls for innovative digital cultural projects> of the House of Human Sciences-Alps, under its program 2015 on the digital humanities> UMR LITT & Université Grenoble-Alpes and CNRS under the AGIR-PEPS program “Media Ecology”.