Reclaim public space now !

While the Ukrainian resistance overthrows in kyiv the statue dedicated to the friendship between the Russian and Ukrainian peoples, Romanian artists and intellectuals are wondering how to radically renew the artistic presence in the public space of Bucharest.

 

Here as elsewhere, the steamroller of the market imaginary dominates the public space, but the city is a complex palimpsest composed by Byzantine then Orthodox imaginaries, Austro-Hungarian then Soviet occupations, the frequency of earthquakes, the state of abandonment of buildings whose owners disappeared during the disasters of the 20th century, and today by the unbridled Eldorado of the globalized economy.

 

In this context, what legitimacy to rely on? How to take in charge without waiting? How to regenerate public space by opening it up to cross-cutting initiatives? How to share the differences of interpretation of the world? How to contribute to the autonomy of individuals? How to revive? How to welcome dissident thoughts, poetics, social innovations?

 

The initiative led by Edmond Niculusca (ARCEN) and supported by the French Institute of Bucharest brings together artists Pisica Patrata, Dan Perjovschi, Cristian Neagoe, architect-urban planner Monica Sebestyen and former Minister of Culture Corina Suteu, expert international in innovative cultural policies.

The work of the place

  • multitudes philosophical artistic political review, publishes this spring 2022 its number 86 entitled The territory, a political affair
  • Territory! The word flaps like a flag, it is adored or suspected. What about this political object? This issue attempts to objectify it, to extract it from categorisations to show its diversity, its interdependencies, its historical depth, its resources. “The spirit of the place” inspires the artist, defines the environments to be preserved, permeates our affects. We all experience “the appalling sweetness of belonging”.
  • In response to this invitation, Philippe Mouillon develops in this issue the idea that the work of the place is simply the work of a smuggler who facilitates resurgences of time and their social acclimatization:

“The poet, the artist, the gardener or the architect (and so many others, inhabited by deep times) can work on a place by carefully assembling a certain quality of air, lights, prevailing winds, by dosing the mineralities, by synchronizing the encounter between individuals, an era, temporalities and the entanglement of terrestrial ecosystems… in order to crystallize a mood, an impalpable atmosphere, a particular intensity that carries us and invites us to live.

From one site to another, but also from one era to another of human societies, from one stage to another of our own existence, places form the matrix of our sensitivity and our behavior. They are places rather than nothing in that they soothe us, console us, consolidate us, bring us together, connect us, grow us. They are part of a break with the simplified uniform of territorial abstraction to open in us a decanted present of the moment, where presences and absences remain, endlessly intertwined”. 

 

The ArTec University Research School

  • The ArTec University Research School aims to promote original links between research and higher education (master’s, doctorate) between artistic creation, cognition and digital technologies, between humanities, engineering, design and social sciences, between university campuses, cultural institutions , associative activism and private companies. It is based on a partnership with a wide range of academic and cultural institutions: BNF, Center Pompidou, National Archives, Gaité-Lyrique…. The field of research concerned is circumscribed by its title: Arts, Technologies, digital, human mediations and Creations. Art, creation and technologies bring a particular dimension of questioning and openness to the fundamental issues of human mediation, on the cultural, social and political level. Artistic creations constitute here both privileged grounds and methods for better understanding the challenges of the changes in progress. This meeting brings together students, teachers, researchers, artists and the curious, to try to project future imaginaries, beyond established forms.
  • The External Council of ArTeC is made up of Maryvonne Arnaud, artist, animator of the Laboratory in Grenoble and of the local.contemporain magazine; Noel Fitzpatrick, Professor of Philosophy and Aesthetics and Dean of the Graduate School of Creative Arts and Media (GradCAM) affiliated with Technological University Dublin, Ireland; Alain Fleischer, artist, director Le Fresnoy, Lille; Benoît Hennaut, Director of the National School of Visual Arts of La Cambre, Brussels, Belgium; Philippe Mouillon, artist, animator of the Laboratory in Grenoble and of the local.contemporain magazine; Marie-Hélène Pereira, Director of Programs at Raw Material Company, Dakar, Senegal; Catherine Quéloz & Liliane Schneiter, professors in art history, former directors of the CCC program of critical cybermedia curatorial studies at HEAD, Geneva and coordinators of the Independent Platform for Research and Doctoral Practice (IRPDP) in Switzerland.Each of them is asked to react, imagine, question, project themselves from the new imaginary forms proposed, more or less emancipated from the dominant references, correct postures, authorized, necessary or sustainable horizons.

Here is an excerpt from Philippe Mouillon’s notes in response to this solicitation:

“Should we take a dog?” wondered Alain Damasio while presenting us the School of the living, this place of “polytic” transformation that he is currently setting up around Sisteron. This is a question that has crossed humanity since the Neolithic era. Should we take a dog? – Yes, if we want to protect the domestic from the wild, No, if we don’t want to upset the ecosystems present beyond the Domus. This scruple for external balances was rare in the history of humanity. We even shamelessly sent dogs into orbit around the Earth, that is to say without agreeing with them on the mission, doubtless believing that they did not have sufficient expertise. However, if we sometimes agreed to let go, then we would not take a dog, but a dog could take us. We could propose to him to associate our horizons, as do the shepherds for whom the dog is like a hybrid extension of the hand, or like these peasant-hunters studied by the ethnologist Charles Stepanoff[1] and who claim to be possessed by the earth, surveying it while trying to place oneself from an escaping point of view, that of the hare or the wild boar, which requires integrating the dog’s perspective into oneself. These blurry zones thwarting the necrotic distinctions between nature and culture, humanity and animality, already intrigued Xenophon[2]. It could be useful to reclaim them to approach our new earthly condition less naively.

Because our common references are, alas, simply, the dominant references. The colonization of imaginations by the stars of finance, whose collections of contemporary art now punctuate the cultural calendars, and by the digital oligopolies, whose infinite financial capitalization has no historical equivalent, requires calling on more incorrect approaches such as the says the philosopher Jaime Vindel[3] when he talks about fossil aesthetics[4] by highlighting the links of dependence and complicity between the imaginaries of industrial progress and the interests of multinational oil and gas extraction companies. We could in this sense speak today of an aesthetics of the click and propose, in response, to begin university training by decarbonizing imaginations in order to achieve a choir, a common song, because there is probably no another sustainable horizon.

But beyond dogs, ecosystems are disrupted by fighter jets, as bioacoustician Bernie Kraus reminds us of how much toads need to sing along, to chorus[5], to escape their predators and seduce their soul mates. This tuning of the Toads’ Chorus takes about 45 minutes, cruelly torn apart by the sound barrier of military planes which ruins unison singing efforts and allows predators to taste them greedily.

Behind its playful appearance, the digital industry is an industry of hunters, particularly hungry for military funding. In his “Bestiary of the Anthropocene”[6], Nicolas Nova tells us that some armies train birds of prey to intercept drones. Others, or the same ones, invite science fiction authors to imagine sneaky because unexpected threats. We could propose, in response, to complete university training with an awareness of threats, of our collective blindness in the face of predators.

But the main lesson of Nicolas Nova’s presentation remains the obstinate search for context. Our new historical condition requires us to leave our air-conditioned and decontextualized sphere, our immense anthropized Domus, by force, to think about and heal the consequences of this new situation. The externalities are no longer where we imagined them and seem to us to have become toxic. We could propose, in response, to continue university training by training in the perception of furtive clues, mainly located outside the academic Domus, then in their amplification and putting into perspective by integrating the perspective of the dog, or that of the smartphone repairer[7] or of any other otherness, that is to say by agreeing to let go of ourselves in order to welcome and meditate on the discreet dynamic divergences.

Finally, I still remember the joy experienced in discovering the “Voices of rain forest” collected by the ethnomusicologist Steven Feld[8], these wonderful songs of birds and various critters which are, for the community of Bosavians living in the tropical forest of Papua -New Guinea, not the expression of ecosystems but the nocturnal songs of the ancestors. And I thought then of the considerable weight of the tradition of the Last Judgment in our backpacks of Europeans steeped in monotheism. How good and soothing it must be to listen to the ancestors twitter those extravagant chirps at night. Not to live in innocence, but to gain intensity. The experiences of disorientation proposed by Yves Citton and the ArTeC team, leaving established programs for the transmission of knowledge, obviously come up against the difficulty of rethinking the legitimacy and accounting methods of this weighing of souls which ends each university year, but they work within us, however, expanding our ability to escape ambient orthodoxies.

Philippe Mouillon

[1] Charles Stépanoff L’animal et la mort. Chasses, modernité et crise du sauvage Ed la Découverte 2021

[2] Xénophon L’Art de la ChasseLes Belles Lettres, 1970

[3] Jaime Vindel  Estética fósil.Imaginarios de la energía y crisis ecosocial Ed Arcadia (Barcelona) 2020

[4] https://modernidadesdescentralizadas.com/projets/esthetique-fossile/

[5] Quoted by Pascale de Senarciens and Ella Gouet, ArTeC master students

[6] Nicolas Nova A Bestiary of the Anthropocene: On Hybrid Minerals, Animals, Plants, Fungi Ed Onomatopee 2021

[7] Nicolas Nova Dr. Smartphones: an ethnography of mobile phone repair shops, 2020

[8] Quoted by Jonhatan Larcher (ArTeC post-doctoral fellow) and Damien Mortier

 

Out of place

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

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

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

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

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

EXCERPT FROM THE SUMMARY :

Alexandra Engelfriet : HAND TO HAND

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

Johnny Rasse : BECOME INVISIBLE

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

Catherine Grout : BREATHE WITH EARTH AND SKY

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

Maryvonne Arnaud : THE NATIVE LANDSCAPE

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

Gilles Clément : AN INVERSION OF LANDSCAPES

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

Daniel Bougnoux : DECOINCIDATE

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

Bruno Caraguel : LA REMUE

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

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

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

Anaïs Tondeur : MISLEADING TRANSPARENCY

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

Henry Torgue: THE GREAT LISTENING OF THE WORLD

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

Jean-Christophe Bailly : BRIEF BACK ON A TITLE

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

Marc Higgins : THE TRAVEL MEMORIES OF DOUGLAS WHITE

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

Marie Chéné : TOUT AJOUT JOUE

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

 

Anne-Laure Amilhat-Szary : DIE OF LANDSCAPE

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

Marie-Pascale Dubé : THIS IMMENSITY FELT…

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

Lora Juodkaite, Rachid Ouramdane : NEXT TO REAL

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

Jean-Pierre Brazs : THE WORLD IS IN DELICATE USE

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

Hervé Frumy : A NIGHT ON THE INACCESSIBLE

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

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

The Ways of the world

ÇA REMUE

LE PROGRAMME DES 3 JOURS

Musée de Grenoble

Vendredi 2, samedi 3, dimanche 4 mars

hall, grande galerie, patio, salle des séminaires, auditorium

Les paysages fixes, stables, arrêtés n’existent pas. Le sédentaire et le définitif ne sont que des illusions d’optique ou de perception. Tout dans le paysage remue, tangue, chaloupe, bouscule, migre et se déplace…

À contrario de l’itinéraire trop bien tracé de la route principale nous projetant au plus vite vers une destination déterminée, Ça remue vous propose de cheminer disponible au hasard et à l’inattendu, attentif à toutes les rencontres, de déguster le temps qui passe, le temps qui change, d’oublier les certitudes ou les inquiétudes pour laisser la part belle à l’échappée.

  • Le paysage fait son cinéma

Vendredi 2, samedi 3, dimanche 4 mars

Un montage d’Agnès Bruckert (boucle de 36 mn en projection continue).

Auditorium du musée (entrée gratuite)

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Lieux-dits, un précipité de vies

> Vendredi 2, samedi 3, dimanche 4 mars

Une proposition de Philippe Mouillon avec le concours scientifique de Jeanine Elisa Médélice.

Grande galerie (entrée gratuite samedi et dimanche)

SÉMINAIRE paysage en mouvements

> Vendredi 2 mars de 9h30>13h / 14h30>18h

Salle de séminaire (entrée gratuite sur inscription à contact@lelaboratoire.net)

9H30

Accueil par Guy Tosatto, directeur du musée de Grenoble. Introduction par Philippe Mouillon.

10h>13H – 14H30>18H

Une journée de réflexion sur les paysages en mouvements avec Cécile Beau (artiste), Daniel Bougnoux (philosophe), Philippe Bourdeau (géographe), Philippe Choler (écologue), Emanuele Coccia (philosophe), Laurence Desprès (biologiste), Caroline Duchatelet (artiste), Alain Faure (politiste), Catherine Hänni (archéobiologiste), Lucie Goujard (historienne d’art), Lionel Manga (écrivain), Martin de la Soudière (ethnologue), François Parcy (biologiste), Dominique Pety (historienne de la littérature), Claire Revol (philosophe), Olivier de Sépibus (artiste), Henry Torgue (compositeur), Martin Vanier (géographe), Marc Vuillermoz (historien de la littérature)…

18H30

Conclusion en présence de Patrick Levy, Président de l’Université Grenoble Alpes.

CONVERSATIONS entre artistes de paysage>paysages et chercheurs universités / CNRS

> Samedi 3 mars

Patio (entrée gratuite)

10H Caroline Duchatelet (artiste) >/< Daniel Bougnoux (philosophe).

Cueillir la lumière

11H Agnès Bruckert (monteuse) >//< Laure Brayer (architecte).

Filmer le paysage en arrière-fond

12H Rachid Ouramdame (chorégraphe) >/< Anne-Laure Amilhat (géographe).

Franchir les frontières

image

13H Céline Perroud (danseuse) >/< Claire Revol (philosophe).

Gestes entre ciel et terre

14H Olivier de Séphibus (photographe) >/< Yann Borgnet (guide)

>/< Lucie Goujard (historienne d’art).

La disparition du paysage de haute montagne

15H Cécile Beau (artiste) >/< Cartherine Hänni (archéobiologiste).

Stabilité et turbulences, la nature en évolution

16H Chloé Moglia (artiste) >/< Emmanuele Coccia (philosophe).

Se mélanger au monde par le souffle

17H Éléonor Gilbert (réalisatrice) >/< Anne Sgard (géographe)

>/< Sarah Mekdjian (géographe).

Expérimenter son quotidien

© Olivier de Séphibus

PERFORMANCES

> Samedi 3 mars

11H

Skull*cult de Christian Rizzo et Rachid Ouramdane

Rachid Ouramdane, co-directeur du CCN2-Centre chorégraphique national de Grenoble, reprend et interprète ce solo créé au Vif du sujet à Avignon en 2002. Le corps gainé de cuir, il développe un travail d’articulations et de suspensions intégralement réalisé de dos.

Salle XVIIIe siècle (entrée gratuite / durée 25mn)

image

12H

Horizon Chloé Moglia

À 6 mètres de hauteur, Chloé Moglia, l’artiste aérienne associée au CCN2-Centre chorégraphique national de Grenoble, explore la décomposition du mouvement au bout d’une longue perche recourbée.

Parvis du musée (entrée gratuite / durée 25mn)

14H

Skull*cult de Christian Rizzo et Rachid Ouramdane

Rachid Ouramdane, co-directeur du CCN2-Centre chorégraphique national de Grenoble, reprend et interprète ce solo créé au Vif du sujet à Avignon en 2002. Le corps gainé de cuir, il développe un travail d’articulations et de suspensions intégralement réalisé de dos.

Salle XVIIIe siècle (entrée gratuite / durée 25mn)

image

15H

Horizon Chloé Moglia

À 6 mètres de hauteur, Chloé Moglia, l’artiste aérienne associée au CCN2-Centre chorégraphique national de Grenoble, explore la décomposition du mouvement au bout d’une longue perche recourbée.

Parvis du musée (entrée gratuite / durée 25mn)

16H

Espace Éléonor Gilbert

Un film de 14 minutes où, à l’aide d’un croquis, une petite fille explique les subtilités géopolitiques de l’espace public à l’échelle d’une cour de récréation.

Salle de séminaire (entrée gratuite / durée 14mn)

PERFORMANCES

> Dimanche 4 mars

11H30

Transhumance Nicolas Hubert et Giulia Arduca Compagnie Épiderme

Une déambulation performative et contemplative dans de grands espaces imaginaires, à travers un mouvement hybridant les formes jusqu’à la confusion des membres et des genres (humain/animal, masculin/féminin).

Départ Grande galerie, niveau vestiaire

(entrée gratuite / Déambulation de 20 mn)

12H

Horizon Chloé Moglia

À 6 mètres de hauteur, Chloé Moglia, l’artiste aérienne associée au CCN2-Centre chorégraphique national de Grenoble, explore la décomposition du mouvement au bout d’une longue perche recourbée.

Parvis du musée (entrée gratuite / durée 25mn)

14H

Le geste de la Terre Céline Perroud Compagnie Rotations Culturelles

Danseuse et chorégraphe atypique, Céline Perroud présente une variation du master class «Sismo Danse » réalisée avec le sismologue Jean Robert Grasso et le plasticien Sébastien Perroud.

Patio (entrée gratuite / durée 20 mn)

14H30

Transhumance Nicolas Hubert et Giulia Arduca Compagnie Épiderme.

Une déambulation performative et contemplative dans de grands espaces imaginaires, à travers un mouvement hybridant les formes jusqu’à la confusion des membres et des genres (humain/animal, masculin/féminin).

Départ Grande galerie, niveau vestiaire

(entrée gratuite / Déambulation de 20 mn)

15H

Tentatives d’étirement du français figé David Poullard >/< Guillaume Rannou

Une conférence fiction par deux artistes de la langue qui élaborent ensemble des dispositifs destinés à tordre l’ordinaire et le banal de notre langue usuelle, afin d’en extraire des sens potentiels inattendus.

Grande galerie (entrée gratuite / durée 20 mn)

15H30

Horizon Chloé Moglia

À 6 mètres de hauteur, Chloé Moglia, l’artiste aérienne associée au CCN2-Centre chorégraphique national de Grenoble, explore la décomposition du mouvement au bout d’une longue perche recourbée.

Parvis du musée (entrée gratuite / durée 25mn)

16H

Le geste de la terre Céline Perroud Compagnie Rotations Culturelles

Danseuse et chorégraphe atypique, Céline Perroud présente une variation du master class «Sismo Danse » réalisée avec le sismologue Jean Robert Grasso et le plasticien Sébastien Perroud.

Patio (entrée gratuite / durée 20 mn)

16H30

Tentatives d’étirement du français figé David Poullard >/< Guillaume Rannou

Une conférence fiction par deux artistes de la langue qui élaborent ensemble des dispositifs destinés à tordre l’ordinaire et le banal de notre langue usuelle, afin d’en extraire des sens potentiels inattendus.

Grande galerie (entrée gratuite / durée 20 mn)

image

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Une initiative de LABORATOIRE en partenariat avec le musée de Grenoble, image le CCN2 et les éditions local-contemporain