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lart du parcours
artistic paths
sommaire / contents
04
editorial
La Folie Kilomtre
dito
en mouvement
in motion
n The Songlines,
writer Bruce Chatwin
describes the myth
according to which
the ancestors of the
Australian Aborigines
made the world come
into being by crossing
the continent chanting
the name of what they
encountered on the way
birds, animals, plants,
rocks, water holes
Artists increasingly
question urban and
peri-urban territories
to propose unique
readings, inviting the
public to see what is
in front of their eyes
every day without them
paying attention to it.
These artistic creations
arent just about
discoveries, spectators
fully participate since
they question our way
to be in the world.
By welcoming artists
from different horizons,
the European network
INSITU has been
revealing for ten years
how urban spaces and
their metamorphosis in
the age of globalisation
propose multiple paths
to follow and invent,
as a way of activating
diversity.
Moving always has
a stimulating effect,
whether it is to follow an
itinerary or allow yourself
to drift with your mood.
According to Pierre
Sauvageot, Whatever
the type of movement
walking, pacing,
traveling, wandering, the
act of moving, of going
from one place to another,
10
Les Inrockuptibles
12
16
24
Cartographier le territoire
avec le philosophe Bruno Latour
Mapping the territory with
philosopher Bruno Latour
28
Le bus sensations
de Martin Boross
Martin Borosss sensational bus
30
34
36
44
48
50
Agenda
Agenda
on marche
pour penser
mieux
Et si lon ne pensait bien quavec les pieds?
Pour le philosophe Frdric Gros, la marche
est, avant tout, un exercice spirituel.
Guillaume Bautista
ietzsche found
that you only write
well with your
feet. Do you also
believe that producing
ideas, whatever their
form or their intensity,
is necessarily linked
to walking?
Frdric Gros No,
certainly not. Nor would
I suggest that taking
mountain paths
can conjure up deep
thoughts, spiritual
concentration does
not necessarily incite
a desire to stretch
your legs. I simply note
Pierre Wayser
probably associated
with the Greek idea of
philosophy as something
akin to experience,
to a lifestyle rather than
as a demonstration
and knowledge system.
In fact he himself built
his essays in a light
and digressive manner,
he allows himself
to be tempted by certain
thoughts and offers
them without insistence,
rather like the gaze
of a walker, carried
according to variations
and without pausing
too long on any aspect
of the landscape
he is walking through.
In a famous text,
Pascal wrote:
All of mans misfortune
comes from one thing,
which is not knowing
how to sit quietly
in a room. Isnt walking
a necessity imposed
by the fact that we find
it impossible to live
serenely in stillness?
Pascal considers
entertainment for
mankind like a frantic
escape out of oneself,
a way to allow yourself
to be mesmerised
by the vortex of the world.
Yet it seems to me that
walking precisely enables
us to make ourselves
available for ourselves,
to our bodies, to the
calm beauty of things.
In fact, when Pascal
mocks the default of men
who cant stay in place,
he is picturing them
running around the
world, rather than
walking peacefully far
from social
gesticulations.
You identify certain
walking models, as if
they were ideal types:
you can walk in the
manner of Nietzsche,
Thoreau, Rousseau,
Ludovic Nobileau
What political
significance can be given
to collective walking?
Beyond being a solitary
intimate act, walking
also has epic facets
in the political sphere
(from Maos Long March
to the Beurs March, or
even the protests against
the university reform
in 2009). Isnt such an
action as political as it is
philosophical, in the
sense that it gathers the
masses around a simple
and symbolic gesture?
Walking simultaneously
represents two values
that belong to the people
rather than to elites:
humility and courage.
The political dimension
spans from the obvious
dignity of a man who
walks: he is standing up
and moving forwards.
A compact crowd in
motion is symbolic of such
determination, at once
calm and resolute. In the
great popular marches,
there is a calm obstinacy
that is really impressive.
This experience of
freedom, of the fusion of
the body with nature, of
the repetition of an action,
is similar, in your view, to
a spiritual exercise. How
should we understand
this term spiritual?
When I talk about
a spiritual exercise
in this instance, indeed it
shouldnt be understood
as meditative
concentration or a mental
technique. I am referring
to the fact that walking
cant be reduced just to
physical relaxation or
healthy hygiene, as if it
was just about stretching
your legs and keeping fit.
Spiritual exercise should
be understood as working
on oneself. It seems to
me that walking always
carries, as in pilgrimages,
the promise of selftransformation.
interview by
Jean-Marie Durand
A Philosophy of Walking by
Frdric Gros (Verso Books,
2014), 288pages, 17
walking
and dreaming
marche et rve Critique de cinma et
crivain, Antoine de Baecque a arpent
les Alpes pendant un mois. Il en tire
un livre daventures et de rflexions.
Film critic and writer, Antoine
de Baecque hiked along the Alps
for a month which has led to a book
of adventures and musings.
Carnet de voyage
dAntoine de Baecque
icknamed
thegreatcrossing
of the Alps in
the 1970s, the
long-hiking path GR5
is 650kilometres long.
It cuts across two
national parks, Vanoise
and Mercantour, linking
Lake Lman to the
Mediterranean. It gets
its legendary reputation
from its topography
as well as the tales
that pepper its history
(pilgrimage, smuggling,
transhumance or military
routes). How could
there be any other way to
enter the legend of this
trail apart from walking it
yourself to experience it
in full! Antoine de
sense of exercise, a
programm of exercises
that you impose on
yourself because they
partake in the building
of yourself by plunging
you into wild nature.
While the editorial
context on the subject
thickens (testimonies
from walkers multiply),
his essay has a very
rich conceptual form
revealing a wealth of
knowledge and unravels
as a feat of literature
and history which
is full of breath.
Jean-Marie Durand
la rue
est nous
Vincent Muteau
Benjamin Vandewalle,
Birdwatching 4x4, 2012 (Belgique)
ou have been
working together
in the European
INSITU network
for over ten years.
The field of street art,
as we call it in France
though the definition
is not unanimously
sanctioned, has
constantly evolved since
the 1980s. What changes
have you observed since
the start of In Situ?
Neil Butler In fact,
there have been different
tendencies in different
fields, always in relation
to the public space.
Towards the end of the
80s, I worked with many
Vincent Vanhecke
as programmers,
are also more involved
in the artists working
process, especially when
we commission not just
the production of new
work, but also a creation
that takes on board local
specificities.
Is this gradual shift
from theatre towards
the visual arts central
to your work?
Neil Butler We meet
many artists from many
countries, in festivals
or other contexts, and
we discuss the questions
that concern us together.
It is likely that by circling
around these questions
so much, something
arose. We have refined
our vocabulary, for
example. It is a bit like
the forty words in the Inuit
lart en
marche
Traverse photographique de
New York, performance picturale
So Paulo, dambulation potique
Marseille Sous lgide de Guy
Debord et sa psychogographie,
les artistes arpentent, questionnent
et rinventent lespace urbain.
photographically, a painting
performance in So Paulo, poetic
meanderings in Marseille under
the auspices of Guy Debord and
psychogeography, artists roam,
question and reinvent urban space.
Laurent Tixador et
Abraham Poincheval,
LInconnu des grands
horizons, 2002
he crowd is his
element, as the air is
that of birds and
water of fishes. For
the perfect flneur, for the
passionate spectator, it is
an immense joy to set up
house in the heart of the
multitude, amid the ebb
and flow of movement, in
the midst of the fugitive and
the infinite. To be away
from home and yet to feel
oneself everywhere at
home. InThe Painter of
Modern Life, the visionary
Baudelaire predicted that
the urban walker would
become one of the key
figures of modern times.
Abraham Poincheval,
who have since disbanded.
As adventurers of the
21stcentury, during ten
years they artfully evaded
the field of art: crossing
France in a straight line,
on foot, from Nantes to Metz,
through fields, villages,
autoroutes and industrial
areas. In Murcia in Spain,
they dug a tunnel 6 feet
underground which they
continuously closed behind
them as they moved forward.
Guy Debord,
The Naked City,
plan imprim
Copenhague
en mai 1957
Mathias Poisson
Laurent Malone
& Dennis Adams, JFK, 1997
Elke Lehman
Yves Bernard
Hamish Fulton,
Footpath, Pyrnes,
2012
Mircea Cantor
The Landscape Is
Changing, 2003
the mental
hiking
of Hamish
Fulton
le dfil politique
de Mircea Cantor
cartographier
le territoire
Dborder le cadre de linstitution culturelle,
rflchir son inscription au sein dun environnement
social spcifique: deux exprimentations portes
par lEcole des arts politiques du philosophe
Bruno Latour donnent du grain moudre.
Emeline Guillaud
La Folie Kilomtre,
Balade picturale
Transhumance #1,
2011 (France)
ow can you
immerse yourself
in a territory? How
can you map out
your scope for action?
Mimicking the language
of anthropologists, how
can you prepare your
field? In the Paris
suburbs, two cultural
institutions, an art centre
in the East, a theatre
in the West (Le116
in Montreuil, and the
Thtre des Amandiers
in Nanterre) currently
experiment, and with no
consultation, a different
method. This is The
School of Political Arts
(Ecole des arts
politiques/SPEAP)
method. Founded in 2010
by philosopher Bruno
inhabitants of Montreuil
to exist. With an office
in house at the art centre,
these young researchers
and artists were invited
by the new director
Marlne Rigler to work
primarily on solving
a paradox, as they say
themselves. The paradox
is formulated in these
terms: Le 116 is brand
new; it just opened in
October. We have proof
of its existence. It is an
institution dependent
on the municipality
of Montreuil, and is located
in a building that has been
completely refurbished
which used to be
a residence and an artists
squat. It has presented
two first international
This playground
corresponds to the
ambitions of The
School of Political Arts.
During what they
call a long term
accompaniment of the
Thtre des Amandiers,
they aim to follow a
long-term study of the
imprint of the Thtre
des Amandiers on its
urban environment.
We want to connect
social and cultural
players who dont
otherwise meet, as
explained by At-Touati.
Starting with
students at Nanterre
University, the
members of a selfmanaged farm near
the theatre and
the traditional audience
of the Amandiers who,
until then, had always
walked the journey
from the RER station
without ever looking
around. One of the
hypotheses we share
with Bruno Latour is that
it is often a question
of sensitivity, of attention
to what surrounds us.
Or this question is linked
to representations:
this often ends up being
a failure because we
had badly represented
the problem, as far as
Frdrique At-Touati is
concerned, determined
as she is to rise to the
challenge of perceiving
the shared imaginary
of this art and
performance venue.
At the Amandiers,
we are going to think up
a new dramaturgy,
in the German sense
of the term, a new way
to activate the theatre,
well beyond its opening
hours. In Nanterre,
Montreuil or elsewhere,
cultural institutions
are destined to become
lived in locations.
Claire Moulne
La Folie Kilomtre
Gspr Tri
a crazy L
bus tour
lautobus en folie Mlant vrai et faux,
acteurs et spectateurs, rel et rve,
Martin Boross met en scne un
voyage en bus qui bouleverse toutes
nos perceptions.
Mixing truth and falsities, actors
and spectators, reality and dreams,
Martin Boross stages a bus journey
that turns all perceptions inside out.
romenade Urban
Fate Tourism
premiered at
Placcc Festival in
Budapest in the spring of
2013. This coproduction
by Artus & Stereo Akt and
directed by Martin Boross
has me, the spectator
as its protagonist. For it
is up to me what I notice
about the tiny changes
in the fabric of the city,
the ones responsible for
a familiar, yet intriguing
atmosphere during the
two hour adventure.
We get on a bus at
the foot of the Whale a
new commercial, cultural
and entertainment center
on the river Danube
and are asked to put on
headphones. It only
takes a short time for
the atmospheric music
and the mlange of
recorded voices mixing
with the directors live
commentary to lull us
into a meditative state.
They are not instructions,
rather half or full truths
about travelling,
journeys, remembrance,
as well as personal
and shared stories. And
about how perception
works, how easily
our senses can be fooled,
our powers of association
and the impossibility
of repetition.
Every now and
then new characters
pop up on our journey
with a well-designed
randomness
demonstrating their
seemingly inexplicable
deeds. It is not a single
linear story they tell us,
rather everyday
anecdotes of love,
relationships, encounters,
new beginnings and
farewells, but we never
hear how they end. And
TamasJaszay
Thomas Seest
social
network
and iPod
Touch
le virtuel
dans
le rel
the virtual in reality Welcome to what you think you can see,
Like Me par
Judith Hofland
(NL)
du 8 au 10 mai 2014,
de 16h 19h30,
dpart de La Jete,
galerie-bar du
cinma Les Varits,
37, rue VincentScotto, Marseille (Ier)
Like Me is an interactive
video tour in an urban
space. It offers a
theatrical experience
close to in situ reality
games. Guided by iPod
Touch and instructions,
the visitor follows
an itinerary and meets
Judith Hofland via
the social network she
has created which he/she
has been invited to join.
He/she can then update
his/her status, participate
via photos or discussion
groups, reply to questions
posed by Judith and other
members of the network.
Is this real? Or composed
information just to give
a better image of oneself?
And what happens
when we really meet
our Facebook friends?
Like Me gives us the
opportunity to experience
this in the space of an
urban promenade during
which the visitors of the
network can interfere.
Everyone is free to meet
others or not. And
to reflect on the content
of the personal data
that we entrust through
social networks
Eric Joris
lunettes vido
et couteurs
video goggles
and headphones
C.a.p.e., Computer
Automatic Personal
Environment, is the
company (constituted
by the artist Eric Joris)
CREWs exploration
project with multiple
strands, and put together
by EDM (Expertise Centre
for Digital Media). The
visitor is brought to a
virtual elsewhere via an
immersive apparatus
composed of video
goggles, headphones
and a portable computer,
and an image filmed
in 360 projected on
suspended screens with
omnidirectional sound.
The visitor literally leaves
the place where he is
32 les inrockuptibles promenade
effets
de miroir
mirror
effects
Aprs Birdwatching,
une scnographie mobile
transportant le public sur
un plateau de thtre, le
danseur et chorgraphe
flamand Benjamin
Vandewalle, form
P.A.R.T.S., poursuit
lexprience dans lespace
public avec une version
in situ: Birdwatching 4x4.
Vingt spectateurs y
prennent place, couteurs
sur les oreilles, assis
comme au cinma, face
un miroir sans tain
qui les embarque pour
une excursion travers la
ville. Quatre danseurs se
mlent aux passants dans
une chorgraphie fluide
qui suit un long travelling
rvlant un paysage
trange. Rvlations,
perspectives renverses
ou dmultiplies soffrent
au regard et redessinent
la chorgraphie en
fonction de la perception
de lespace. Jouant
de ce qui est cach
et de ce qui est donn
voir, Birdwatching 4x4
questionne la perception
de la ralit et la relation
de celui qui observe
celui qui est observ.
Dans cette traverse
potique de la ville, fiction
et ralit se mlangent,
lune imprimant lautre
la puissance de ses effets
de rel.
Following Birdwatching,
which was a mobile stage
design transporting the
audience on a theatre set,
Flemish dancer and
choreographer Benjamin
Vandewalle, who trained
at P.A.R.T.S., continues
the experience within
the public area with
an in situ version called
Birdwatching 4x4.
Twenty spectators get on,
with headphones, seated
as they would be in the
cinema, facing a two-way
mirror, taking them
on a trip around the city.
Four dancers mix in with
the audience in a fluid
choreography that
follows a long panning
shot of a strange
landscape. Revelations,
inverted or multiple
perspectives are all
occurring, and they
redraw the choreography
according to the
perception of space.
Playing with what is
hidden and what is
shown, Birdwatching 4x4
raises the question of the
perception of reality and
the relationship between
the observer and the
observed. During this
poetic passing through
the city, fiction and
reality mix inextricably,
imprinting the power
of real effects.
Travellings
Birdwatching 4x4
par Benjamin Vandewalle (BE)
du 8 au 10 mai 2014, 15h30, 16h30,
18h30, 19h30, dpart Kiosque des Rforms,
square Lon-Blum, Marseille (Ier)
trips
in the city
voyages dans la ville Avec lAgence Touriste,
Agence Touriste
imagination, to expand.
Mathias Poisson is a
dancer and a visual artist,
but he was a scenographer
for a long time before
opting for this preexisting
stage urban space
with its constantly
redefined perimeters.
As an artist, he invents
imaginary cartographies
which are influenced
by anatomical drawings.
What really fascinates
me is the way that the
perception of geographical
spaces is distorted by
imagination. When you see
the lAgence Touriste maps,
it is really not difficult to
work out that they have
nothing to do with the ones
produced by Google.
Hugues Le Tanneur
a laboratory for
the imagination
un laboratoire de limaginaire Ecrire, rflchir, travailler
favourable), Stirlings
geographic location
seems particularly
charged.
From 25 to 28February
2014, the third edition of
Writing Side by Side took
place in this city. It is
organized by the In Situ
network. As indicated
in the name, these
encounters offer artists
and programmers
the chance to think in
common, and confront
work that is being made.
As in previous editions,
in Graz in 2011, Prague
in 2012, the guest artists
and projects were chosen
by the artistic directors
who are members of
the In Situ network.
investigation, as
architecture, cartography,
territory to invest with
dreams or stories that
might link to a social
context, as a base for
critical thinking, as a
space full of energies.
Among the projects
presented during Writing
Side by Side, many of
them consider the notion
of a path or even a
trajectory. They often
suggested a mysterious
aim perhaps a secret
one expressed in
Julien Gracqs following
observation in Paris
laube: In every trajectory
there is a rough patch when
the heart stops beating
and time expands.
Guillaume Bautista
foisonnement dides
Dix-sept artistes. Dix-sept propositions de crations
plus ou moins labores et pour certaines dj
trs avances. Comment grer une telle profusion?
Le principe du sminaire Writing Side by Side est
de se drouler en deux temps. Chaque matine est
consacre la prsentation de cinq sixartistes en
sance plnire. Il sagit dexposer non seulement le
projet en cours mais aussi dexpliquer qui lon est et
do lon vient. Laprs-midi, des groupes de discussion
en comits restreints se runissent autour de chaque
artiste pour parler avec lui de son uvre en cours.
Une demi-heure, pas plus. Une cloche indique la fin
de la session. Aussitt, tous sauf lartiste quittent
la table pour reformer un groupe autour dun autre
projet en discussion. Ce systme double dtente
favorise un brassage des ides dautant plus efficace
que le fait de ne pas tre trop nombreux facilite les
changes. En gnral, il est plutt rare de voir des
artistes travaillant sur des crations en cours parler
de leurs doutes ou de leurs recherches aussi bien
avec dautres artistes quavec des programmateurs.
Sans tomber dans le clich de la tour divoire, il y a
malgr tout un certain isolement li la dmarche
cratrice. Mme si, videmment, celle-ci est aussi
bien souvent, en particulier dans le domaine du
spectacle vivant, le fruit dun travail dquipe.
Pour qui est confront un tel foisonnement,
limpression la plus forte est de se retrouver au cur
dun laboratoire de limaginaire. Dans un espace
bien rel, certes, mais aux marges du monde, entre
ralit et fiction, une zone mentalement trs active
o chacun expose des visions, des aspirations,
des itinraires personnels. Rien voir a priori,
par exemple, entre le projet Mellemrum de la Danoise
Kitt Johnson et linstallation Walk With Me du
Nerlandais Rob Van Rijswijk. Mais cest pourtant
de ces rencontres imprvues que surgissent
Heldentheater
Seventeen artists.
The seventeen creative
proposals were either at
an early development
stage, or very advanced.
The Writing Side by Side
seminar takes place
in two stages. Every
morning is devoted
to five or six artists
presentations to the
whole assembly. The aim
is to detail the project in
progress and give details
about who you are and
where you come from.
In the afternoon, smaller
discussion groups gather
around each artist to talk
about the work being
made. No more than half
an hour. A bell rings the
Kenny Bean
vagabonding which is
considered illegal or
asyl seekers in many
countries. On the other
hand, Walk With Me aims
to transform the urban
space by creating
a sound environment
which is activated by the
person who moves in a
specific urban situation.
After the initial surprise,
pedestrians can play
with this soundtrack
produced by their own
movements.
Many of the projects
presented generally
revolved around sound,
Martin Polak
Yannick Gudon
interviewed teenagers
and asked them the
following question: what
is Peter dreaming about?
Presenting so many
projects inevitably leads
to an impression of
accumulation which is all
the more strange since
each proposal is unique.
The presentations are
often accompanied by
maps, diagrams, section
cuts, mappings and
other topographies. It is
impossible not to think
of a Borgesian labyrinth,
a garden of forking
by Milan Kunderas
novel. She imagined
an installation in the
form of a labyrinth
in which notions of
slowness and speed,
directly proportional,
according to Kundera,
with the intensity
of memory and oblivion,
interact with the evolution
of a relationship. For the
Belgian Breg Horemans
who is based in
Maastricht, theatre is
necessarily concerned
with architecture, and,
in turn, any architecture
is also a theatre. In this
spirit, he imagined
Hall33, a project which
is in progress but very
advanced, a installation
proposing an experience
with unexpected changes
in scale, light and sound.
Planned for two visitors
at a time, this installation
aims to be at once a
sensorial experience and
a sentimental journey.
The projects differ
widely, but of course
connections can be
identified between each
proposal. The fact that
these artists from varied
horizons share their
experiences and also
their doubts and
questions over the course
of four successive days
is proof of a real interest
in other approaches,
and a great example of
civilisation. They didnt
hesitate to suggest ideas
all along and displayed a
remarkable capacity for
listening. Modestly but
with legitimacy, Writing
Side by Side can be
considered an example
with regards pooling
energies. Certainly it
is a privileged moment
for the participants.
Hugues LeTanneur
la ville-monde
the world city Confronted with the decline of the power of nation states,
Thomas Seest
or several years,
you have been
conducting research
concerning art and
territory. What brought
you to these questions?
Eric Corijn The art
scene and in a wider
sense the cultural
sector has developed
within the framework of
nation states. This means
that it positions itself
according to an index or
tradition that participates
in the construction
of national identity,
and even a highly
territorialised national
identity since it coincides
not only with the state
but also with its borders.
And yet in the last
forty years, globalisation
has intensified the zones
of flux. Another form of
connectivity has appeared
which no longer
unravels from the centre
to an always widening
periphery as was the
case until recently, but
now unfolds as a network
of large cities. If we add
to that the fact that
there is more mobility
today, like migration, and
this leads to a greater
cultural diversity
Thomas Seest
Xavier Cantat
playground
exprimentations, gratuit
La riche et enthousiaste
exploration de lespace public
par les dix-huit membres
du rseau INSITU.
12
Performing
arts stfold
UZ Arts
Curiosity, experimentations,
free access The rich and
enthusiastic exploration of public
space by eighteen members
of the INSITU network.
Kbenhavns
Internationale
Teater
13
Oerol
Festival
Norfolk
and Norwich
10
Les
Tombes
de la nuit
Theater
op de Markt
14
Atelier 231
CTYRI DNY/
Four days
La Paperie
17
La
Strada
15
Chalon
dans la rue
Fundacin municipal
de Cultura de Valladolid
Lieux
publics
11
K13
16
PLACCC
Festival
Consorzio
La Venaria
Reale
18
ODA
Teatri
(Copenhague, DK)
Crations in situ; travail interdisciplinaire;
processus participatifs; acupuncture culturelle;
exploration du paysage urbain.
Site specific creations; Interdisciplinary work;
Participatory processes; Cultural acupuncture;
Exploring the urban landscape. www.kit.dk
14
IN SITU 2014
Travellings
10 spectacles-parcours
europens Marseille
du 7 au 11 mai
quartiers Canebire,
Rforms, Noailles, Belsunce,
Parc Longchamp
avec lAgence Touriste (FR),
Asphalt Piloten (CH),
Crew (BE), Judith Hofland (NL),
HOPPart (HU), KUNSTLABOR
Graz by uniT (AT), Maria
McCavana (UK), Stage Code (CZ),
Benjamin Vandewalle (BE)
Dominoes
performance gante
et phmre de Station
House Opera (GB) lchelle
de la ville, Marseille
28 septembre
Une ligne de briques de bton
de deux kilomtres traverse
Marseille, avec la complicit
de centaines dhabitants
Remue-mninges
sminaire dcriture
Pigna, Corse
novembre
coproductions lquipe
compagnies
en rsidence
Lieux publics /
coproductions
Attention fragile,
La naissance de Dalida
Cie dElles
La Fuite cheval,
trs loin dans la ville
Deuxime Groupe
dIntervention,
A quoi rve Peter?
KompleXKapharnaM,
Do not clean
Ilotopie, cration 2014
Rara Woulib, Bizangos
X/tnt, Code de la dconduite
Monik LZart, R(ev)ue
de presse
No Tunes International,
Je vais lui en mettre
du Johnny Rotten
Oposito, Kori Kori
Cie de lambre, LHomme
du dehors
La Folie Kilomtre, Rivages
formation
La Belle Ouvrage /
Lieux publics
Dvelopper ses
comptences croises
de production et de relations
avec le public au service
de projets de territoire.
10 jours lautomne 2014,
Marseille
inscriptions
www.labelleouvrage.fr
les spectacles
sont gratuits
prsident
Philippe Chaudoir
direction
Pierre Sauvageot, directeur
Sabine Chatras,
directrice adjointe
avec Julie Manchon
production
Fabienne Aulagnier
avec Elisa Schmidt
et La Dommange
rseau IN SITU
Ariane Bieou
avec Camille Fours
et Marion Marchand
communication et relations
avec les publics
Jasmine Lebert
avec Fanny Girod et
MorganeClon, Eva Binet
comptabilit
Franois Cellarier
avec Muriel Bargues
technique
David Moss
avec Camille Bonomo
et Jean Matelot
Lieux publics, centre national
de cration est conventionn
par le ministre de la Culture
et de la Communication, la
ville de Marseille, le conseil
rgional Provence-Alpes-Cte
dAzur et le conseil gnral
des Bouches-du-Rhne.
Il reoit le soutien de la
Commission europenne
et de la Sacem. Lieux publics
pilote INSITU, rseau
europen pour la cration
artistique en espace public.
INSITU dveloppe
le projet META financ avec
le soutien de la Commission
europenne (DGEAC
programme Culture)
en 2011-2016.
en couverture Station House Opera, Dominoes, 2013 (Copenhague, Danemark), photo Thomas Seest chef de projet Benjamin Cachot directeur adjoint
dveloppement et nouveaux mdias Laurent Girardot coordination ditoriale Fabienne Arvers, Sophie Ciaccafava rdactionFabienne Arvers, Jean-Marie
Durand, Tamas Jaszay, Hugues Le Tanneur, Claire Moulne directeur de cration Laurent Barbarand maquette Nathalie Coulon dition/secrtariat de rdaction
Fabrice Mnaphron secrtariat de rdaction Delphine Chazelas traduction Caroline Hancock iconographie MariaBojikian fabrication Virgile Dalier, avec Gilles Courtois impression, gravure, brochage RotoAisne SN
directeur de la rdaction Frdric Bonnaud directeur de la publication Frdric Roblot fondateurs Christian Fevret, Arnaud Deverre, Serge Kaganski dpt lgal 2etrimestre2014 LesInrockuptibles est dit par
LesEditions Indpendantes, socit anonyme au capital de 326757,51, 24,rue Saint-Sabin, 75011Paris, nsiret42878718800021 actionnaire principal, prsident Matthieu Pigasse LesInrockuptibles2014.
Tous droits de reproduction rservs. Supplment au n960 du 23avril desInrockuptibles. Ne peut tre vendu. Ne pas jeter sur la voie publique. Supplment ralis en codition avec Lieux publics, centre national de cration,
et IN SITU, rseau europen pour la cration artistique en espace public
crations
Theater op de Markt
(Neerpelt, BE)
Hasselt, Limburg, Belgique
7-10 aot / 7-10 August
PLACCC Festival
(Budapest, HU)
19-28 septembre /
19-28 September
Kbenhavns Internationale
Teater (Copenhagen, DK)
Metropolis Laboratory
21-23 mai / 21-23 May
La Paperie
(Saint-Barthlmy-dAnjou,
FR)
Les gnies du lieu,
compagnie KMK, rsidence
de trois ans dans le quartier
Monplaisir, Angers /
three year residency in the
Montplaisir district, Angers