BEGIN:VCALENDAR VERSION:2.0 PRODID:-//jEvents 2.0 for Joomla//EN CALSCALE:GREGORIAN METHOD:PUBLISH BEGIN:VTIMEZONE TZID:Europe/Paris BEGIN:STANDARD DTSTART:20211031T020000 RDATE:20220327T030000 TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:Europe/Paris CET END:STANDARD BEGIN:STANDARD DTSTART:20221030T020000 RDATE:20230326T030000 TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:Europe/Paris CET END:STANDARD BEGIN:STANDARD DTSTART:20231029T020000 RDATE:20240331T030000 TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:Europe/Paris CET END:STANDARD BEGIN:STANDARD DTSTART:20241027T020000 RDATE:20250330T030000 TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:Europe/Paris CET END:STANDARD BEGIN:STANDARD DTSTART:20251026T020000 RDATE:20260329T030000 TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:Europe/Paris CET END:STANDARD BEGIN:STANDARD DTSTART:20261025T020000 RDATE:20270328T030000 TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:Europe/Paris CET END:STANDARD BEGIN:STANDARD DTSTART:20271031T020000 RDATE:20280326T030000 TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:Europe/Paris CET END:STANDARD BEGIN:DAYLIGHT DTSTART:20210523T100000 RDATE:20211031T020000 TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:Europe/Paris CEST END:DAYLIGHT BEGIN:DAYLIGHT DTSTART:20220327T030000 RDATE:20221030T020000 TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:Europe/Paris CEST END:DAYLIGHT BEGIN:DAYLIGHT DTSTART:20230326T030000 RDATE:20231029T020000 TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:Europe/Paris CEST END:DAYLIGHT BEGIN:DAYLIGHT DTSTART:20240331T030000 RDATE:20241027T020000 TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:Europe/Paris CEST END:DAYLIGHT BEGIN:DAYLIGHT DTSTART:20250330T030000 RDATE:20251026T020000 TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:Europe/Paris CEST END:DAYLIGHT BEGIN:DAYLIGHT DTSTART:20260329T030000 RDATE:20261025T020000 TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:Europe/Paris CEST END:DAYLIGHT BEGIN:DAYLIGHT DTSTART:20270328T030000 RDATE:20271031T020000 TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:Europe/Paris CEST END:DAYLIGHT END:VTIMEZONE BEGIN:VEVENT UID:ebc7b6048e866ebdf021c1b125db31a9 CATEGORIES:Journées d’étude CREATED:20220518T090231 SUMMARY:Reenacting Landscapes LOCATION:Université Paris Nanterre - 200 avenue de la République\, Nanterre\, \, 920 23\, DESCRIPTION:In the bodiless non-places of accelerated capitalist life, in the anxiety o f the Covid present, in the toxic sites of the so-called Anthropocene, what does it mean today to get a taste for landscape? Why should one care, and how might the refined ‘palate’, implicit in conservative notion of taste, b e reconfigured differently, opened up to democracy and dissensus? We approa ch these generic questions via a specific route: namely, by interrogating t he performative potential – the theatricality, no less – of reenactment, a mode of artistic intervention that since Rebecca Schneider’s pioneering stu dy Performing Remains: Art and War in Times of Theatrical Reenactment (2011 ) has been a common trope within theatre and performance studies as well as art history and visual culture in general. But perhaps now – for the reaso ns intimated above – it is time to rethink and reapply the idea of reenactm ent, to come terms, somewhat ironically, with its afterlives and possibilit ies.\nIn this study day we look to interrogate the relationship between ree nactment and landscape precisely because the very idea of landscape was alw ays already bound up with repetition and re-doing: the attempt, that is, by landscape gardeners in the eighteenth century to transpose images from pai ntings into the very material of the landscape itself; to create aesthetici sed, tasteful ways of seeing and being. In this study day, landscape is no longer conceived as a primarily visual practice or disposition; rather, it is approached as verb, both active and passive, something that one does as a body, as a skin, a choreography, a performance, a type of theatre. Equall y, taste is not a set of rules or protocols that one can apply or discover, as if in some manual; it is a sensate experience, an open-ended, always co rporeal event, something that fills the perceiver with enthusiasm and affec t. To get a taste for landscape, in other words, is to get a taste for life , which, in keeping with the uncanny, troubling logic of reenactment is als o to pay attention to ghosts, spectres and phantoms, to make kin with the l iving dead – all those that refuse to depart the stage (mise-en-scène).\nTh is study day will be of interest to academic and practice-based researchers in art, theatre, performance, ethnography, geography, archaeology, history , politics, philosophy and literature.\nJournée on and off-line organisée d ans le cadre du projet RePiT (Labex Les Passés dans le Présent) par Baptist e Buob (Lesc), Nathalie Cau (HAR), Carl Lavery (Glasgow University, Ecology , Environment and Heritage Hub) et Christophe Triau (HAR).\n[Salle L205, bâ timent Ricœur, Nanterre / Lien de l'appel vidéo : https://meet.google.com/a dz-crgx-ibn (https://meet.google.com/adz-crgx-ibn)]\nProgramme\n9h30     Ac cueil café\n10h00   Carl Lavery : « Reenacting Landscapes »\n10h30   Lee Ha ssall : « Reenactment : Transmatic Reanimation »\n11h15   Clare Finburgh-De lijani : « Spectral Seascapes : performer les fantômes postcoloniaux en Fra nce »\n11h45   Alexandre Koutchevsky : « Théâtre-paysage », dialogue avec C hristophe Triau\n12h30 – 13h30 : pause déjeuner\n13h30 – 15h : Workshop men é par Simon Whitehead\n15h15   Sophie Sleigh-Johnson : « Disorientation: Re ach for the Ground »\n15h45   Emmanuel de Vienne : « Peindre et perdre la c ulture : l’œuvre d’Amatiwana Trumai »\n16h30   Annette Becker : « Les paysa ges du Rwanda et les reenactments des traumas du génocide des Tutsis »\n17h 00   Nathalie Cau : « “Dérober au néant noms et figures” : paysages de mémo ire, essai filmé (tentative in progress) »\n X-ALT-DESC;FMTTYPE=text/html:

In the bodiless non-places of accelerated capitalist life, in the anxiety of the Covid present, in the to xic sites of the so-called Anthropocene, what does it mean today to get a t aste for landscape? Why should one care, and how might the refined ‘palate’ , implicit in conservative notion of taste, be reconfigured differently, op ened up to democracy and dissensus? We approach these generic questions via a specific route: namely, by interrogating the performative potential – th e theatricality, no less – of reenactment, a mode of artistic intervention that since Rebecca Schneider’s pioneering study Performing Remains: Art and War in Times of Theatrical Reenactment (2011) has been a common trope with in theatre and performance studies as well as art history and visual cultur e in general. But perhaps now – for the reasons intimated above – it is tim e to rethink and reapply the idea of reenactment, to come terms, somewhat i ronically, with its afterlives and possibilities.

In this study day w e look to interrogate the relationship between reenactment and landscape pr ecisely because the very idea of landscape was always already bound up with repetition and re-doing: the attempt, that is, by landscape gardeners in t he eighteenth century to transpose images from paintings into the very mate rial of the landscape itself; to create aestheticised, tasteful ways of see ing and being. In this study day, landscape is no longer conceived as a pri marily visual practice or disposition; rather, it is approached as verb, bo th active and passive, something that one does as a body, as a skin, a chor eography, a performance, a type of theatre. Equally, taste is not a set of rules or protocols that one can apply or discover, as if in some manual; it is a sensate experience, an open-ended, always corporeal event, something that fills the perceiver with enthusiasm and affect. To get a taste for lan dscape, in other words, is to get a taste for life, which, in keeping with the uncanny, troubling logic of reenactment is also to pay attention to gho sts, spectres and phantoms, to make kin with the living dead – all those th at refuse to depart the stage (mise-en-scène).

This study day will be of interest to academic and practice-based researchers in art, theatre, pe rformance, ethnography, geography, archaeology, history, politics, philosop hy and literature.

Journée on and off-line organisée dans le cadre du projet RePiT (Labex Les Passés dans le Présent) par Baptiste Buob (Lesc), Nathalie Cau (HAR), Carl Lavery (Glasgow University, Ecology, Environment a nd Heritage Hub) et Christophe Triau (HAR).

[Salle L205, bâtiment Ric œur, Nanterre / Lien de l'appel vidéo : https://meet.google.com/adz-crgx -ibn]

Programme

9h30     Accueil café

10h00   Carl Lavery : « Reenacting Landscapes »

10h30   Lee Hassall : « Reenactment : Transmat ic Reanimation »

11h15   Clare Finburgh-Delijani :&nbs p;« Spectral Seascapes : performer les fantômes postcoloniaux en France »

11h45   Alexandre Koutchevsky : « T héâtre-paysage », dialogue avec Christophe Triau

12h30 – 13h30&n bsp;: pause déjeuner

13h30 – 15h : Workshop mené par Simon White head

15h15   Sophie Sleigh-Johnson : « Disor ientation: Reach for the Ground »

15h45   Emmanuel de Vienne : « Peindre et perdre la culture : l’œuvre d’Amatiwan a Trumai »

16h30   Annette Becker : « Les pa ysages du Rwanda et les reenactments des traumas du génocide des Tutsis&nbs p;»

17h00   Nathalie Cau : « “Dérober au néant no ms et figures” : paysages de mémoire, essai filmé (tentative in progre ss) »

DTSTAMP:20260513T173134 DTSTART;TZID=Europe/Paris:20220524T100000 DTEND;TZID=Europe/Paris:20220524T180000 SEQUENCE:0 TRANSP:OPAQUE END:VEVENT END:VCALENDAR