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 :

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.



  • 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:

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.


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. “


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


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)


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, 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.


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.


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.


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


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


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”.