Photo: Vickie Allen

Vickie Allen tries rock climbing the ‘iron way’ (aka via ferrata) at Alpe d’Huez. She took her camera too. Don’t look down!

I rarely hear my own heart beating in my ears. But I hear it now; loudly. My legs tremble, my hands burn. I try not to look down to the river running 100m below me but I can hear it gushing over rocks between heartbeats. A bird flies past my head and above me the clouds are gathering. I ask myself – not for the first time – why I’m doing this.

And then my breath kicks-in. And I realise that via ferrata isn’t just great for the body, it’s a mental sport too, requiring focus, strength and a kind, supportive, inner voice. A great lesson for life as well as for the rock face …

Via ferrata – for those who aren’t familiar with the term – can be directly translated from Italian to mean ‘iron way’. For those who are familiar, the term conjures up images of iron rungs bolted into the mountainside and a cord of metal that criss-crosses the cliff face. This is your iron way, your route up the mountain.

Photo: Vickie Allen

There are lots of via ferrata in the Oisans region and for our first attempt for the year we thought we’d keep it simple, opting for the découverte route in Alpe d’Huez, from the base of the Sarenne gorge. découverte simply means discovery, and differs from sportif in that the routes tend to be more like a scramble up the rocks via narrow paths, rather than comprising of long sections of rungs (which is what you’ll find on the sportif routes). At the bottom of the Sarenne gorge you have the option of either type of route and they cross mid-way, allowing you to try both disciplines in one hit.

Did I mention that the routes take you hundreds of metres off the ground? This means safety equipment is essential. You’ll need a climbing harness, a specialised via ferrata attachment (which comprises of two spring-lock carabiners on a short length of rope and a third which acts as a braking device), a helmet, comfortable clothing and trainers or other suitable outdoor shoes. You’ll also need a lot of guts, especially if you’re afraid of heights.

Photo: Vickie Allen

Via ferrata is a great way to combat fear and conquer your adrenaline. I’ve done a few via ferrata now, and a bit of climbing, but the first of the season is always terrifying. It took me a good hour regain confidence, not just in the safety equipment but also in my body. Trusting my hands not to simply let go of the rung at an inopportune moment took a lot of energy. And this is why my hands are burning now … I literally gripped and hauled my way up the rock face. Not great technique but for the first ascent of the season I’m just glad I made it. And this is why I persevere with the sport: it’s literally the most rewarding thing I’ve ever done.

When you’re on the face you’re part of a team and the team are there to support you and talk you through, when necessary. But essentially you’re on your own, in your head. And the way to talk to yourself when you’re coaxing yourself up and up and up is maybe the way we should coax ourselves through life. “Come on Vixie, [that's what I call myself in my head!] you can do this. Here’s another crossover. One carabiner to the next section of line. Done. The second. Done. Nice work. Check you’re secure. Now, get your right foot onto that rung and lean for the hand-hold. Secure? Edge the left foot along the rock and squeeze it onto the rung. Good. Secure. You’re doing well. You can do this. Breathe. Remember to breathe”.

Photo: Vickie Allen

The other beauty of the sport is that you can only deal with one section at a time and quite often you can’t see what’s ahead or below, so your only option is to focus on the job in hand. The strange peace that ascends as you move up section by section, staying solidly in the present is another lesson I think we can apply to our own lives. What’s the point in worrying about what’s to come or what’s behind us? Let’s just deal with what’s in front of us right now.

And then, before you know it, all your coaxing and inching up the rock face brings you to the top … that triumphant final haul over the last edge and you’re done. Hopefully with a big smile on your face as you realise what you’ve achieved and how – with all that focussing on the present moment – you’ve left all your other worries at the bottom of the route.

Photo: Vickie Allen

How to reach the Alpe d’Huez via ferrata: the route starts at the bottom of the Sarenne gorge, just upstream of the chairlifts. You can walk into the gorge via the footpath from Huez or down from Alpe d’Huez on the steep path that descends next to the second car park on the way to the Col de Sarenne. You’ll finish just below the same car park and the walk back into Alpe d’Huez takes about 30 minutes. We completed the route in around 90 minutes, but the speed at which you go depends on your fitness, experience and whether you want to stop to take photos to scare your friends and family…

Photo: Vickie Allen

For more  on Alpe d’Huez in the summer and climbing in the Oisans region, go to Destination Oisans: Photos, films and thoughts on the reality of life in the mountains.

photo: Vickie Allen

Vickie Allen reports on the snow – or lack of it – at Alpe d’Huez, and gives her tips for winter sports enthusiasts on how to predict the weather.

Sitting in our t-shirts looking across the green valley to the bare mountains behind, yesterday felt like April. In fact, last April the weather was far worse than it is now, with lots of snow falling late in the season.

Today as I look out of the window at the blue skies and the green trees it feels like Spring is already here. However, The Boyfriend has a different theory: winter hasn’t yet arrived.

photo: Vickie Allen

And he may be right. We’ve had a few big dumps of snow but nothing major and nothing really prolonged, which is what’s needed to provide a good strong base of snow. So maybe winter isn’t really here yet, maybe it’s on it’s way…

Our mountain weather is notoriously unpredictable and erratic. Last week we experienced all four seasons and after a week of sunshine the sort of temperatures we usually experience in May, the forecast is now predicting a week of clouds and snow.

photo: Vickie Allen

Just a few regular dustings really, around 10cm for the week, because the irony is that it’s going to be too cold to snow next week. The freeze level is due to drop from 3550m to 1850m today. By Thursday morning it will reach 0m and jiggle around up to 400m until Sunday.

photo: Vickie Allen

However, it’s not worth worrying about. Life here is lived determined by the weather and you have to be flexible to adapt to the whim of Mother Nature. This is one of the may reasons I love it, it stops me planning too far ahead! Forecasting here is supremely difficult and my interest in it has become purely theoretical. I’ve been closely watching the forecast for the past two years and love to watch the number but rarely do I base my life on them. They merely provide an idea of what may come to pass, but for life, I rely on these three methods for predicting the weather:

1: look to the south for storm clouds as this is where our weather originates
2: stick your head out of the window to test the temperatures and smell the air
3: layer-up no matter what the weather

photo: Vickie Allen

If you’re heading out on holiday soon then pack for all weathers, as you should no matter what time of year you visit the mountains. And if your trip is booked for later in the season then know that the weather might not be what you’re expecting, but you’ll have a great time anyway.

photo: Vickie Allen

PS: if you liked today’s photos, check out my Flickr page and entries into the Alpe Photo Contest.

Click on the link for more information about riding this winter in Alpe d’Huez or use the comments bow below to ask questions, I’d love to hear what you think!

Destination Oisans: Photos, films and thoughts on the reality of life in the mountains.

Visuel de l’affiche de l’exposition « Mes semblables » © R. Oudinot 2010

Grenoble Life talked to photographer Remi Oudinot ahead of his exhibition Mes Semblables, which runs at Librairie Arthaud throughout October.

Grenoble Life: Can you explain the title of your exhibition, Mes Semblables?

Remi Oudinot : The title Mes Semblables came to my mind when trying to explain what motivates my photography practice: when and why do I trigger my camera shutter?

I do mostly street photography. And when out for “shooting”, I am on my own, a stranger in the crowd. This is especially true when I’m travelling abroad for professional or personal matters. I don’t look specifically for funny or odd situations, à la Doisneau, but rather I stop at simple human beings who, just like me, seem to be “strangers lost in the crowd”. They might be “locals”, but the expression I see on their face, the feelings their attitude conveys, separate them from the flow. 

I see them, and instantly want to capture the instant with the right angle, frame, light and colors (ok, I also do a bit of black & white !). We are alike, they are mes semblables. 

GL: Do you find many of your “semblables” in Grenoble?

Remi : I love Grenoble and its crowd. But Grenoble is not the best place for that. I believe that I need to feel like a stranger to identify my “subjects”, for the above mentioned reasons. Each time I’ve tried in Grenoble, I tend to capture anecdotes with little to no emotions. These pics are not “keepers” for me. Travelling is an easier (lazy?) way to please my retina.

GL: Many of your photos are the result of your travels: where have you been?

Remi : Mostly in the US. Mostly west coast, but I always try to find a plane stop to spend a couple days in New York on my way back.

I’ve been to Singapore too but wish I could experience Asia a bit deeper. I need to go to Japan!

Then Europe works for me as well, from Denmark to Turkey. A few hundreds kms away from Grenoble works too (I love the old downtown districts of Nice or Turin)

GL: Tell us about how you became interested in photography.

Remi : A 1983 Kodak Instamatic 77X: that was my birthday present when I turned nine. It produced little squared shots, very Polaroid-like. 

I’ve always been of the creative type, and I guess I’ve found photography to suit my creative aspirations. Like drawing, only easier and faster? Just kidding! But from then, I’ve never stopped shooting and really got serious about it seven or eight years ago, with the rise of affordable digital SLRs, matching my geeky addictions. Shooting, trying, improving, editing and shooting again. That really helped me a lot to find my very own way. Oddly enough, I’m now shooting film again, with a 1980-era Yashica Mat, and it brings additional fun that again boosts my appetite for image-making.

GL: What other exhibitions have you been involved in?

Remi : I exhibited a New York series last year at Gaia Store, a very nice travel-oriented bookstore in Grenoble. Then, I’ve been selected by the Maison de la Photographie et de l’Image, with a series on Le Voyage which was on display at the Ancien Musée de Peintures, place de Verdun. Lastly, the Luxembourg Chamber of Commerce exhibited some of my latest photos, as one of the “winning artists” for the European contest States of Creation.

The October expo at Librairie Arthaud will be my first, true, full-scale “solo” exhibition.

By the way, there’s a Facebook page for people willing to follow my updates. 

GL: What other galleries and artists in Grenoble can you recommend to our readers?

Remi : I like the work of Jean-Pierre Angei, Dominique Combarnous, Bruno Moyen and many other talented local professional or amateur photographers. There are not so many official places where photography can be enjoyed but I know that La Maison de la Photographie et de l’Image is struggling to make Grenoble a better place for that. For now, scrutinizing Facebook, Twitter, Flickr and the like is a good way to keep an eye on our local ecosystem of image makers.

GL: Where are you travelling next?

Remi : I’m just back from Amsterdam, thinking about Madagascar. But that might not happen in the next few weeks. I really need to set up a PayPal account to find sponsors !

GL: What projects for exhibitions and collaborations do you have for the future?

Remi : I will first focus on the upcoming expo. I’m just done with the editing and hope your readers will enjoy what I’m sharing. If they do, I’ll start to think about what’s next.

Grenoble Life’s James Dalrymple talks to blogger-photographer extraordinaire Gaëlle Brunet about Grenoble Daily Photo, music photography and her upcoming exhibition at Musée Dauphinois.

Grenoble Life: How long has Grenoble Daily Photo blog been going and why did you start?

Gaëlle Brunet: I started the blog three and a half years ago, in February 2007, when I discovered the Daily Photo Blog community (www.citydailyphoto.com). At that time, there was only a handful of cities involved but now we are more than 1200 all over the world.

I was mainly aiming at helping people discover Grenoble and it was also a good way to share my pictures.

GL: What do you think makes Grenoble so photogenic – what are your sources of inspiration?

Gaëlle: One of the major assets of Grenoble is its diversity. You can easily take pictures of a brand new glass building and an hour later photograph a landscape with mountains in the background. But when it comes to photography, I must admit I’m usually more interested in modern buildings than nature!      

GL: I often hear people say that Grenoble is not a beautiful city. What do you say to them?

Gaëlle: I often tell them not to be so categorical, even if I can understand why they tend to say that. I’m originally from Grenoble but have lived in other cities and other countries as well and it’s true that my hometown may not be that appealing at first sight! But as soon as you take some time to explore it, you inevitably discover areas, streets, buildings, that are interesting and even beautiful sometimes!

Some people might not agree with me but I also think that the public works done over the past few years have contributed to improve the general appearance of Grenoble (I’m thinking about the stadium, the works on Boulevard Joseph Vallier, the surroundings of the train station and the whole Europole neighbourhood, the Mistral area etc…).

GL: You also specialise in music photography (concerts, festivals etc.). Tell us about that.

Gaëlle: I’ve always been interested in both music and photography. Before I became a photographer I was working in a record shop. When I made the transition between these two jobs music photography naturally came as a good option for me and I now work with a photo-agency exclusively specialised in that field.

Taking pictures during concerts is very different from taking pictures outside or in a studio. You have no control on what is happening on stage, or on the lights for example. It’s an endless challenge! And I like that because it’s very stimulating. 

GL: You’ll be exhibiting some photos at Musée Dauphinois soon – tell us more!

Gaëlle: Yes, I’ll be exhibiting some photos from the new black and white series I’ve been working on since last June.

It will be a collective exhibition, with works from artists living or working in the St Laurent/Right Bank area. The opening of the exhibition will take place during the European Heritage Days (September, 18) and our photos and videos will remain visible at Musée Dauphinois until the end of the month. You can find all the details on this website: www.quartierdesarts.org

GL: Do you have any tips for other amateur photographers in Grenoble: associations to join, galleries to visit etc.?

Gaëlle: Well I know that some photographers gather regularly and organise what they have called Grenoble Photo Walks all around town but I’ve never joined them.

I don’t think Grenoble’s got galleries specialised in photography (I might be wrong)  but if you’re hungry for art in general, there are a lot of places you can visit : Le Magasin, Spacejunk Gallery, CAB (Centre d’Art Bastille) among others. You can also find interesting exhibitions in a few cafés and restaurant like DiFérenT (4, place Sainte Claire).     

GL: Do you ever get tired of taking pictures of Grenoble?

Gaëlle: Sometimes, yes. But I’m not running out of subjects to photograph yet so it never lasts very long. And I also regularly take pictures in other cities and countries just for a pleasant change!  

GL: How have your pictures changed since you started the blog?

Gaëlle: Honestly, I can’t really tell. Some things haven’t changed. I’m still interested in architecture photography, I’m still hunting graffiti, stencils and all kinds of street art on the walls of the city for example. But I hope the quality of my pictures is better now!

Girose glacier from Dome de la Lauze

Rebecca Skillman narrates the highs and lows of a walk on the wild side: a 3-day glacier hike roped to a mercurial mountain guide at an altitude of over 3000m.

August 2010

Inspired by my husband, Juan, who has been yearning to do a glacier walk for yonks, and our crampons, unused in their boxes since winter, we book on the Bureau des Guides des Ecrins three-day Randonnée glaciaire around the Meije. We know the Ecrins well, but walking above 3000m of altitude will be a new experience.

Day 1: La Grave to the Selle refuge (2673m) via the Col de la Lauze (3512m)

We meet our guide, Jean-Paul, at La Grave. He has brought his wife and daughter along for the trip, explaining that they’ll be roped up separately, so are not technically part of our group. In addition to ourselves are Grenobloise Chantal and a Parisian couple, Pauline and Annette.

We set off, taking the cable-car to the top, just below the Rateau. Leaving the grotte de glace tourists behind, we step onto the Girose glacier. My crampons don’t seem properly adjusted to my boots. I hesitate to place my foot inside, as Jean-Paul instructs, confused by what he says about the crampon fitting. To my shock and amazement I find him literally shouting at me. I can’t believe it. How am I going to spend three days with this man … But fears are displaced, at least for now, by the staggering view. Across the valley, north of La Grave, the Aiguilles d’Arves glisten with the previous night’s dusting of snow. We are bathed in sunshine and the glacier looks sensational (see top).

Being roped up and walking “in formation” is a strange sensation. No possibility of stopping for a snack or drink, let alone a pee. Photo opportunities are confined to hasty snaps – before a yank from the person in front puts an end to it. An hour or so on we stop for a break and Juan and I scamper up the Dome de la Lauze. We are hardly catching our breath but Jean-Paul is already bidding us come down. Why the haste? Is it the biting wind, or some other reason? I drink in the 360 degree views,  and follow him down reluctantly.

It’s as we descend from the Col de la Lauze into the Selle valley that our problems start.

Descending from the Col de la Lauze to the Selle valley

Pauline and Annette are manifestly ill prepared for (or ill informed about?) the walk. It is walking, albeit down a very steep, snowy slope. But Annette has no stability, hunched over as she tentatively inches her way forward and down. It’s painful to watch, and even more agonising to have to stay roped up as a pack. I am ready to scream when – praise the Lord – Jean-Paul announces that we can unleash ourselves. Juan, Chantal and I speed on ahead. The relief is unimaginable. Slippy slidey snow. Weeha…

At the bottom of the descent, we bask on a grassy slope above the Selle refuge, waiting for the rest of the group to catch up. We can see Jean-Paul, at times far ahead of his herd, for a guide – and then, good, he is waiting for them. It should have taken us an hour, but is nearer 2.5 hours by the time we are all down. Jean-Paul is obviously concerned about the viability of the group, which is stretching the classic rule of going the pace of the slowest beyond what is safe.

Our late descent (which Jean-Paul admits was a mistake) meant the snow was unstable and could have avalanched. But he doesn’t seem to think any particular action is required on his part. By good fortune the two women have seen that their presence is jeopardizing the feasibility of the walk and they decide to pull out. It’s a sad moment – failure for them and (indirectly) Jean-Paul, and the loss of good company. But it has to be the right decision – and Jean-Paul is simply lucky that he didn’t have to impose it.

The Selle refuge

From the refuge we watch the sun’s last rays against the massif du Soreiller, then spend the evening chatting.

The massif du Soreiller glows amber in the setting sun

Jean-Paul perfunctorily teaches us a few knots. Clearly, we are the zillionth group he has done this exercise with. He brusquely informs us that we will be getting up at 5am, having breakfast at 5.02am and leaving at 5.30am. Yes, sir! I am awake most of the night, unable to shake off the stress of the day. But somehow manage to be ready for 5.45, completely zonked.

Day 2: Selle refuge (2673m) to Chatelleret refuge (2232m) via the Col du Replat (3201m)

Head torches light our way as we leave the refuge. By the time we reach the Selle glacier it is almost light. Crampons aren’t necessary here but as we walk up the eastern wall of the glacier they once again earn their places in our rucksacks. What a pleasure walking with them, our stability enhanced with so little effort.

Arriving at the Col du Replat

We arrive at the Col du Replat and perch there on a knife edge. The reward is generous: wonderful views all around, including south towards Gioberney and the Pilatte glacier, and east to the Dome des Ecrins.

A breather at Col du Replat

Snow turns into rock as climb down into the Selle valley

It’s too cold, not to mention vertiginous, to stay long. With some reluctance at losing hard-won altitude so soon, we rope up and begin the descent. There are some tricky passages scrambling down a rock wall. I find it’s tempting to use the rope like via ferrata, giving it my whole weight. But we are not hooked up to the rock, so this would be fatal. Jean-Paul yells at us to keep the rope between each of us taut – if one person falls their fall will then be less. But how can you do this when each of you is negotiating delicate foot positions, manoeuvring around awkward ledges? If the rope is taut we will pull each other off the mountain. As Jean-Paul barks at me from above (“Do you understand me, Rebecca?” Yes. “Then why aren’t you doing as I say?”), Juan simultaneously nags me to give him more slack. Grrrrrr!! Talk about being between a rock and a hard place …

On a sunny, flat rock we find a resting place for “lunch” (it’s only 10.30am), still above the snow line. We catch a glimpse of an ermine zipping around the rocks. Across the valley rock climbers attack a vertical wall.

We’ve been walking for five hours but Chatelleret refuge is still not even in sight. We set off again and practice a few ice-axe techniques on a scrap of snow. I then choose to dawdle, enjoying going at my own pace. Juan uses the opportunity to take some flower photos (Androsace pubescens – now how often have you seen that?!)

Androsace pubescens

I’m too tired to do anything other than will my feet down the path, as erratic cairns give way to a well tramped route. Across the Selle valley we can see tomorrow’s path disappearing up the northern end of the valley into what looks like an impassable precipice. I put it out of my mind. The mountains’ barks are sometimes worse than their bite.

We regroup outside the refuge and enjoy blueberry tart. The refuge has a lovely position alongside a river that ribbons to create a hundred picturesque picnic sites. Juan and I use the refuge shower, powered by the ultimate solar heating system: a long black hosepipe. Bliss. While our guide and family take a siesta the three of us find a spot by the river to chat, analyzing the faults of our guide and putting the world to rights. It’s an effort to stay awake but we’re determined not to undermine the possibility of sleep tonight.

Supper – and not a moment too soon. Jean-Paul surprises me with a party trick: how can you position three glasses and three knives so as to support a jug? (answer: it’s all in the way they overlap) Fuelled up, we waste no time in heading for bed, Juan protesting at the early hour but in fact not far behind the rest of us (what else can you do?!). The 20-bed dormitory is full, the ambiance high as a good French Camembert, and the malfunctioning window letting in gusts of near-freezing air. But nothing will stop sleep this time. Eight solid hours.

Day 3: Chatelleret refuge (2232m) to Villar d’Arène (1667m) via the Col du Clot des Cavales (3158m)

We are again a few minutes over Jean-Paul’s projected departure time – this time because he is behind schedule. Once again we set off as dawn breaks. The granite peaks are temporarily transformed into sandstone as the early sun picks them out. A magical time. 

We don’t need crampons until the last stretch of snow below the Col du Clot des Cavales. It’s a gritty, unpleasant walk: extremely steep, unstable underfoot and impossible to keep the rope straight and free from the many jutting rock faces that we have to pass around, and which break the continuity of line. Jean-Paul is impatient – all three of us answering him back like rebellious teenagers. What on earth does he expect from people who have never done this before?

From the col we look back to yesterday’s descent. From this perspective it looks barely credible as a route.

Col du Replat from Col du Clot des Cavales

To the east is the valley of the “Torrent du Clot des Cavales”, which joins the Romanche valley further on. With the sun shining straight towards us, and scree on all sides, the landscape is at its most austere. We enjoy the eagle’s eye view for a moment or two, but don’t dally. The wind, and knowledge that we still have many hours of walking ahead, push us on.

Here, at least, there’s no need for ropes. We zigzag down through the snow, the Pavé refuge soon revealing itself next to the lake of the same name; the path runs slightly south of the refuge, along textbook moraines.

Jean-Paul seems more than usually introspective. At the confluence of the two rivers rocky haute montagne scenery gives way to more gentle alpages frequented by a number of day walkers approaching from below. The greenery and flowers, and gentle gradient, are very welcome. I voice my appreciation to Jean-Paul but he either doesn’t hear or doesn’t want to hear, and says nothing.

Looking back up the Romanche valley from the Plan de l’Alpe

The end of the walk is beautiful, following the Romanche river east and then north to the car park just south of Villar d’Arène. It’s only the last half hour that really gets to us. Juan needs several breaks in order to make the distance. Back at the cars Jean-Paul offers us a chilled beer and we conduct an informal post mortem. It is extraordinary. Here’s this vastly experienced mountain man, with a devoted wife and daughter, finally acting like a human being. Relief at being able to talk adult to adult for the first time in three days is tempered by sadness at the wasted opportunity: with different group management this would have been such a different adventure.

Jean-Paul explains his bad temper as being common to all guides (really?), and that it was only when we were in danger that he lost his temper (?!) In his view there are any number of routes where the effort and aesthetic are better balanced. He claims the use of the description “randonnée glaciaire” by the Bureau des Guides is misrepresentative – this walk is more accurately début alpinisme. We charge him with the responsibility of reporting this back to the Bureau des Guides. “So no hard feelings, then?”, he asks us. And I guess there are none. But I’ll know what questions to ask next time.

Resident Grenoble Life photographer Suzanne Bonnefond invites you to discover the Diois region of the Vercors mountains near Grenoble.

Le Diois is a superb region in the South of the Vercors range near Grenoble, which already suggests the light and colours of the Provence. It can be reached via the Col de Menée, near Mont Aiguille, or the Col du Rousset. The latter pass, which descends on Die, is particularly spectacular.

From the Col de Menée you find the tiny village of Benevise and can easily do a fantastic walk in the Vallon de Combeau.

There’s a lot more to see: le Cirque d’Archiane, in the valley near Menée village, a hamlet surrounded by pink cliffs, from where there are numerous trails towards the plateaus of the Vercors.

Resident Grenoble Life photographer Suzanne Bonnefond shares a mini photo-essay about transhumance … and if you don’t know what that is, you’ll have to read on.

Transhumance is an ancient tradition. Herds of sheep from the South of France return to the summits of the Alps in search of fresh pastures, to stay there all summer.

In the past, these herds accompanied the shepherds arriving by foot across the Alps. It took them several days, sometimes weeks. They took the paths we now use as trails for hiking. They have been immortalised in literature by the works of Jean Giono.

These days, the herds arrive by lorry. This one came in from the Alpes de Haute Provence, having crossed the col du Lautaret.

Arriving in Chazelet, in the spectacular setting of la Meije, a herd of a thousand sheep returns to pastures 2000m in altitude, where it will stay until October.

We can easily see them on hikes in the Oisans, Belledonne or the Vercors.

Finally, if you want to hear what the transhumance sounds like, click here.

Grenoble Life editor James Dalrymple shares a few photos and reflections on the Grenoble’s defaced shop fronts and the transformation of the city on a Sunday.

Sunday in Grenoble. All the shops are closed, their shutters displaying garish graffiti. Quite depressing, no? Well, not for me really. I have a curious proclivity for decay and dereliction – as an amateur photographer, anyway – and hate shopping, so Sundays in Grenoble provide an irresistible opportunity for me.

To be fair, though, any casual visitor to Grenoble – particularly on a Sunday – might be tempted to see a city blighted by vandalism: tagging, bill stickers and a recent proliferation of anti-capitalist street art. Or else they might be lead to conclude that the Grenoblois store owners are lacking in civic pride or are overly laissez-faire when it comes to the wanton degradation of their shop fronts.

For me Grenoble’s Saturday to Sunday transformation is a welcome one. Gone are the herds of gabbing shoppers and down come the shutters, with their daubed slogans and spray-painted murals, simultaneously lending the city an air of decadence and “down at heel charm,” as a guidebook might optimistically put it. Sometimes vibrantly coloured, sometimes dingy, the character of the city on a Sunday is undeniably different. Love it or hate it, it invites you to look; inseparable as it is from the visual language of the city.

Here are some of my photos of Grenoble’s shut up shops, and of other defaced or stencilled doors, graffiti and bill sticking around the city. Let me know what you think about the photos and of Grenoble’s “down at heel charm.” 

Prakhar Amba, Grenoble Life’s very own photographer-flâneur, strolls the stalls of the Brocante des quais du Vieux Grenoble, June 13. Here are his photos and impressions.

Last Sunday (June 13th) I was walking along the pedestrian bridge on Isère which gives a wonderful viewpoint of the cable car (Les Bulles), crossing the river to the Bastille. I saw an unusual number of cycles chained to the bridge. I followed them to discover a flea market on the Quai de la Perrière, Grenoble, leading up to the rue Saint Laurent.

I started with a shop selling plastic dolls. One look at the price tag (150 euro) and the silent horror on my face must have convinced the shopkeeper to nod sharply to me, “yes,” and silently mumble, “get away,” or something of that sorts. I walked away wondering, is this really a flea market? Thankfully, as I walked deeper into the market prices fell to earthly levels and whole loads of antiques and curiosities were on display.

Lots of toys, train sets, gramophones, rotary telephones, big-box AM/PM radios, video games, hats and all sorts of knick knacks were present at bargain prices. It was like a walk into the past. Remember the good old days when the world was analogue, things were made in wood and real brass knobs and lasted generations? I tried to fathom the age of the Remington typewriter, alive enough to type out another letter –wondering if today somebody would bother to keep their keyboard for even 20 years.

Somehow the planned obsolescence of today’s products (three years lifecycle max.) has taken away the memories we used to have with our possessions. What would the flea market of future look like? I wondered as I photographed the flea market of today.

My wife bought two porcelains dolls (10 euro a piece) dressed in 19th century clothes, from an old grandmother who had a hard time parting with them. She had had them since her childhood and gave one last brush to their hair, passing on her memories.

Place Grenette, c.1900

In the second part of John Lubbock‘s brief history of Grenoble he finds himself scratching beneath the surface of the city and discovering a ”post-apocalyptic 19th century parallel universe,” among other things.

I had long been puzzled by an impressive fortification system which stands near my house on one side of Parc Paul Mistral, completely hidden by trees and currently hosting a bmx/mountainbike track on one side. I had to telephone the resident historian of the Maison de Tourisme to find any information about this structure, which turns out to have been constructed in 1813 by the celebrated military engineer Générale Haxo (who also later reconstructed the Bastille) to protect against a possible southern invasion of France by the Austrian Empire.

The Austrians indeed eventually invaded the same year and were repulsed by the city defences, but returned to occupy Grenoble in 1814 and again in 1815. These walls, or enceintes, as they say in French, (the same word is used for pregnant as well as for hi-fi speakers, which is clearly intended to confuse and frustrate learners of French) were later demolished to make way for roads like Boulevard Jean Pain, leaving them an impressive ruin overrun by trees that makes you feel like you are in some post-apocalyptic 19th century parallel universe.

In the 19th century, modernity finally arrived in Grenoble with the construction of the railways. Aristide Bergès, a paper manufacturer, installed a modern paper factory in the Grenoble valley in 1867, where he invented the first hydro-electric motor to power the factory’s turbines. He called this new source of electricity Houille Blanche, or White Oil, which is still used in French to refer to hydroelectricity.

As I said, there is no statue to mark Bergès’s achievement in Grenoble, except for some ugly student housing and a CROUS named after him. However, one look the disservice done to his memory by the invention of photography will tell you that he’s not nearly as sexy as how French romantics imagined Bayard to look. I mean, he doesn’t even have an English language Wikipedia page, which is actually more of a damning criticism of his historical importance.

Bergès, and Bayard. No comparison.

And so to bring us up to the most important century, being that in which most of us were born: the 20th. Since all history is inevitably self-centred, why not congratulate ourselves for being born in the best century – that is if centuries are judged on some kind of Tarantino-esque scale of awarding points for most limbs severed or ears sliced off.

Exposition Internationale de la Houille Blanche et du Tourisme

After the First World War, Mayor Paul Mistral began various social and cultural projects, including the 1925 Exposition Internationale de la Houille Blanche et du Tourisme. Though what these two subjects have in common is something of a mystery; perhaps they couldn’t drum up enough interest in either one by itself. For the occasion, architect Auguste Perret constructed the Tour Perret in Parc Mistral, whose blue lights can be seen from miles around, shining as a beacon to the ability of architects to create Freudian symbols of power.

It is the sole remaining construction from this exhibition, and was used at the time to transmit radio emissions throughout the whole of France, though probably not with much success considering analog transmissions find mountains to be rather a hurdle to overcome. The tower was classed a historic monument in 1998, and a restoration plan is currently à l’étude.

There was a large wave of Italian immigration into Grenoble after the Second World War to help provide workers for the new factories. They stayed after discovering that the French loved eating cheese and bread, but had never thought of combining them inside an oven.

At the outbreak of the Second World War, the Nazi invasion was stopped in the south at the Battle of The Alps, though Grenoble was occupied by the Italian army in 1942-3 after they heard how easy it was to get good pizza there. Unfortunately, the Nazis found the Italians to be a little too laissez-faire about rounding up Jews and resistance fighters in Grenoble, and decided to occupy it themselves in 1943, escalating resistance activities, the most spectacular of which was the destruction of the Bonne barracks and arsenal in December 1943.

American tanks in Grenoble, 1944.

After the war, Grenoble rebounded economically by marketing itself as a winter sports destination, aided by the construction of some hideous new brutalist buildings and ski resorts like Chamrousse for the 1968 Winter Olympic Games.

The last half of the 20th century saw the arrival of new immigrants from North Africa and the realization of the globalized and multiethnic modern character of Grenoble.

Well, there you go. That’s as far as Wikipedia will take us, so I suggest you stop procrastinating on your computer and go outside and make some more history, or else there won’t be anything else to write about, will there? Go on, outside, now …  shoo!

LEROY & SCARPA: neutral-toned, softly-chic faux-fur throws and pillows

Nearly one year on from their first meeting, Grenoble Life catches up with Kris Leroy, the American founder of Grenoble-based soft furnishings design company LEROY & SCARPA, France, previously Chic Throws.  

Grenoble Life: Why the name change? 

Kris Leroy: As Axelle and I are now associates, both managing the company and aiming to launch a luxury brand, we definitely needed to change the name for a fresh start. Chic Throws was also impossible to pronounce in French! I had originally had a direct e-commerce strategy for the business in place but realized that it was best to focus on my designs, our originality and leave the B2C to others more specialized. 

As most designers, it is important to keep your name in the frontlines and not hide behind a meaningless company name. We have invested in our new name/logo which I think reflects a more luxurious brand. 

GL: Who is Axelle? 

Kris: Axelle Scarpa and I used to work together at Ericsson Hewlett-Packard Telecommunications (EHPT) over 10 years ago. We have remained friends ever since and over lunch I’d told her my dream associate would be someone like her, an expert in supply chain management and purchasing. She was just finishing her tenth year at HP and was ready for a serious change in environment as well as an entrepreneurial challenge and quality of life improvement. She said, why don’t I come to work with you and I’d thought she’d had a bit too much wine at lunch …

Since April we’ve combined forces, and mutually thank each other for ‘our new life’. It’s great as we prioritize family time (i.e. working four days a week) however often meet online after hours to achieve our goals. We have moved our offices to a business park where our communications agency was located. It’s only 100m away from our last office but we have much better natural light (so I don’t have to go out on the roof to see the true fabric colors) and air conditioning! 

Kris Leroy and Axelle Scarpa

GL: What is there to do now that you’ve joined forces? 

Kris: We need to basically start all the business filings again in SARL format with the Chamber of Commerce and choose partners with whom we want to launch our new brand. (accountant, notaire, fabric suppliers, communications agency, etc.) You are only as good as your partners.

I am working on the new Winter 2010 collection for the first professional fair in Annecy in June. This will be the test for the B2B market where originality should prime over the traditional ‘mountain décor’ suppliers to ski areas in France, Switzerland and Italy. We are really targeting the chic boutiques in the ski areas in Megève, Chamonix, Courchevel, etc. and hope to ‘wow’ them with our new collection, for their international clients. I have spared no expense on the fabrics that come from top and unknown designers in France, Italy and the UK for the Courchevel Chic collection. 

Since the crise clients are craving color and that is what we will bring them as well as neutral-toned, softly-chic faux-fur throws and pillows (see top image).

GL: So you are ready to hit the market now? 

Kris: Now that Axelle is on board, I finally can focus on my added value which is sales and marketing. This past year has been spent getting our supply chain in place and prospecting both the B2B and B2C markets. I literally haven’t had a chance to really hit the pavement running with our collections. All sales have truly been through word of mouth. 

We just need to finish the website, the catalogue and the samples for each collection, photograph all and then I’m set to meet clients and take orders … Now that production is confirmed and we have about a two week lead time on production (better than our competitors who are importing from abroad), we can really stand out. 

Also, we need to perfect photography which is difficult to capture a large throw on a thumbnail-size photo and is quite a challenge for our internet resellers. We are currently testing photographers and have a great photo shoot in place that should all come together in May.

Leroy & Scarpa

GL: In terms of design are you comfortable in this new market? 

Kris: Axelle and I just came back from London where we attended the Kelly Hoppen school of design. This program really helped me fine-tune what I was designing to be in harmony with Kelly Hoppen’s style which caters to the same clientele. I have finally overcome my fear of neutral linens and can expertly decipher the difference in taupe and sand tones.

We have also joined forces with our communications agency and www.ateliermartinberger.com to create www.cocotte-design.com, which is a blog for girls who like to talk about girls in design. We are having loads of fun with this project that just launched last weekend and are meeting a lot of interesting people in design. 

GL: What has inspired the new collection? 

Kris: I have found three new fabric designers that are really in tune with my style and blend well with what we have already. I have also found a sculpture-designer that can make the buttons that I’ve been trying to find worldwide as a final touch to the collection. We will also be designing our own buttons as finishing touches with our new logo. 

As we are actively targeting the ski areas, we are using a lot of faux-fur in bright colors and neutral tones. We only use French and Belgian top-quality fabric and the result is an ultra-soft, emotional / sensual product. It’s not just a throw! 

We are also launching some furniture at the fair in June: plush, patchwork chairs and cube tables. 

We have been lucky as the press has sought us out and especially the new magazine ‘Cosy Mountain’ which is the first ski-area magazine for contemporary design. Once our packaging is complete with the new logo, we should have a four-page spread in their fall issue. 

GL: And then what? 

Kris: Once summer arrives, I need to start designing the Spring Collection for 2011 which will include outdoor fabrics (pillows, lounge covers, poufs, plush chairs). We also have lighter throws planned for cool evenings and brightly colored pillows to match. 

I am also working with a graffiti artist to design some eclectic throws for artsy and adolescent clients. I am inspired by Banksy’s wall art in the UK and hope to transfer others artists’ designs onto throws, headboards, etc. 

We are working on our first chic-boutique deal in London and then who know where outside of France … For the moment we will focus on our home-base and slowly branch out to Switzerland, Italy and other foreign markets. 

We do want to maintain a ‘boutique-brand’ and not sell to large department stores. The idea is to remain exclusive and maintain a smaller, very happy clientele.

Resident Grenoble Life photographer Suzanne Bonnefond presents another idea for a short expedition from Grenoble: “I suggest a trip to ‘Indiana Jones land’, just near the city, les Gorges du Furon in Sassenage. Visitors are always impressed by the beauty of the place”.

Mary Veale, "Borders, technique", 2007. Cast glass/tissue. Photo: Jean Pierre Angei

Mary Veale is an Irish artist based in Grenoble. She talks to Grenoble Life’s James Dalrymple about her new exhibition Mutations. 

Grenoble Life: Could you tell us a bit about your background and how you came to live in Grenoble. 

Mary Veale: I was born in Kilkenny, Ireland; I trained as a nurse and midwife and in neurology initially. After a brief working period in nursing I began my artistic training and completed my diploma foundation studies in Exeter College of Art in 1983. After that I moved to the north of England and completed my BA in design of glass and ceramics at the University of Sunderland where I was fortunate to work with the master of Swedish design Goran Warff. 

After graduation I worked in the setting-up of one of the first artists’ co-operatives in Newcastle-upon-Tyne at 36 Lime Street, Ouseburn Warehouse Workshops. We got awarded the Prince’s Trust Award for innovation in 1987. 

After setting up my first workshop I returned to study for my Masters in Fine Arts at the University of Northumberland. The theme of my final Master’s show was based on the Cleveland child abuse crisis. My first daughter was born during this period. 

I came to live in Grenoble initially for a sabbatical year in 1991, returning with my husband Daniel Veale working in medical research and respiratory medicine. 

GL: You say on the Un certain detachement (UCD) website that your works are inspired in part by “what it means to move cultures,” could you elaborate on this?  

Mary: The lack of opportunity to show local artists’ work in Grenoble caused us to set up the co-operative Un certain detachement in 2005. This group was set up by myself, Claude Gazengel and Alain Quercia. Claude Gazengel wrote a text based on her history about living abroad and crossing cultures (she had lived in Barcelona for three years). The group began with the idea of a mobile gallery and hence the Vending Machine Project was born. Now we have 30 international artists from five different countries involved in this international art project; and are using three vending machines. The concept is to make multiples in art and distribute them via a vending machine. The machines can be moved and shown in a variety of places. 

My multiple was based on the idea of “displacement“, which could be seen as a mental, physical or metaphysical state. As one moves cultures one has, in certain respects, to become detached from one’s origins. 

The idea of glass cast tongues (being cut off or dismembered) may be symbolic of the language problems that I have experienced - notions of fragility and breakability are present in my work.  While taking on a new language and culture can be a very enriching experience, it can also be very unsettling; thus the idea of fragility or moulding of glass can be very poignant. When speaking in a foreign tongue sometimes words and meanings get lost or remain unsaid. I like the idea of working on the spaces within the silences. I call these ‘silent spaces” where words are lost or unsaid or become mutated. I have tried to use this idea of lost words or silent spaces in my glass books; which are a work in progress started when I first arrived in Grenoble. 

GL: On the UCD website you state that glass can distort and protect. Some of your works feature scrawled or warped messages, while others enclose seemingly organic, even visceral matter. There is a vulnerability to certain works, but the shell or flower-like formations are made from hard materials. Likewise, your artworks seem to be personal, even intimate, but themes of liberty, borders and social exclusion are recurrent. Could you talk about the political dimension to your work and how it relates to the personal? 

Mary: I have worked on various themes over the past few years and a lot of my works are through ideas which may have been inspired by literature, poetry, music and current affairs. 

I am particularly interested in issues based on being an artist and the role of an artist today in society. Being a mother of three daughters and woman has also marked my work. 

Glass is often my chosen material as I can explore so many concepts and ideas through this material. 

Of course a lot of my art work is personal and when I am concerned about a particular issue but as the work develops a universal meaning can be traced also, I hope. 

My first work made in Grenoble was with the Ecole De La Paix. I worked on the concept of a glass book about peace entitled the Livre des larmes. This was in 1998 to commemorate the signing of the peace agreement in Northern Ireland. Since this date I continue to add pages, so it’s like a work in progress – as are peace processes in lots of places in the world. 

Most of my work is installation-based and may have many diverse media, including paintings, sculpture, light works, video and books. 

The theme of liberty is one that I have worked on. I organised a debate on this subject at the Fort Du Murier during the weekend of the Journée nationale du patrimoine in 2007. I invited guest speakers, local politicians and historians and opened the debate to the general public. The theme was: What does the concept of Liberty mean today? This debate was recorded and a video was also made during the debate and I made specific works after this debate. 

GL: Tell us about your new show Mutations. 

Mary: I like this word mutation as it can be so large in its meaning and connotations. It suits my work. 

To explore mutation in my work I start with genetic changes that happen in the body, as I interpret scientific images or concepts such as ageing and memory into a visual language. 

Mutation is a natural phenomenon in the creative process as marks and gestures constantly alter and change, becoming exposed, hidden or unstable. 

Mutable, changeable, unsteady: many of these words find resonance in my work through the use of particular materials such as glass, wax and paint. Through the creative process I am constantly bringing change, instability and alternating form and content through a complex process of looking and seeing. 

To be in a state of mutation is often felt by individuals who have become displaced or moved from their origins. Being outside one’s original culture could be a form of mutation particularly as one adapts and assumes another culture with its language and customs – as has been my experience. 

My works in this exhibition are from recent paintings and glass works and are based on the theme of mapping the inner body and “landscape”, or topography. I interpret the brain and its complex systems of neuronal pathways through looking and drawing, later to be defined into the language of paint or glass sculptures. The medical imagery I use as a starting point, which then leads to an exploration of wider issues to do with memory and loss. 

The philosophical dimension is also present as I try to understand our fears and emotions. The use of glass is a perfect metaphor for all that can be held within, frozen in time. The abstraction and reworking of medical imagery helps me to understand more about how our bodies work and how the inner landscape of our bodies is less of a mystery. 

Art can make visual many complex scientific concepts in a way which is less mysterious we as we understand the world around us through our actions emotions and reactions. Through this work I am not trying to show any answers but trying to understand for myself a little of how the body functions and changes in certain circumstances. 

I am interested in the idea of collaboration between different professions and therefore I worked in the Sleep Laboratories at the CHU Grenoble, looking at sleep studies and making a video recording of this procedure. Often the different areas of science and art have common grounds, especially in neurology. Medical imagery in recent times, such as the MRI scanner, brings a lot of new information to the scientist and also maybe to the artist. We as artists can contribute perhaps by having a different way of looking at a subject. I hope to commence a residency at the new neurological institute here in Grenoble working alongside scientists. 

I have works that explore the thought process, memory and memory loss, as my mother was recently diagnosed with Alzheimer’s disease. 

GL: You talked earlier about the lack of opportunity to show local artists’ work in Grenoble. Could you talk more about this? 

Mary: A lot of artists in Grenoble never get to show their work in the city as it lacks any professional body to help organize a database. Just recently Entre ‘Arts got closed down and it used such a database over 10 years. 

The lack of space for artists led me to set up the vending machine project with my colleagues here in Grenoble. There are no studios for artists in Grenoble as was the case in Newcastle. Therefore, the city and local artists lack a cohesive structure to help them continue in their professional careers. 

As I was involved in the setting up one of the original co-operatives with other artists in Newcastle, I carry on this idea that artists cannot work in isolation and do need to have proper studios with low rent, as being an artist does not bring a regular income. 

I spent three years working on a proposal with a group of artists and architects here in Grenoble to set up studios and a set of workshops for international artists designed for the Le Petit Hall at Bouchayer Viallet. However, commerce won the day and art was not seen as economically viable. I see this as a huge mistake for the city as we see in Lyon how the Biennale D’art brought 165,000 visitors to the city thus bringing a lot of commerce. Therefore art can be an economic venture for a city. 

GL: Where can people go to see more of your work at that of your fellow artists? 

Mary: One of UCD’s vending machines is presently in-situ at the parliament party office of Genevieve Fioraso, 7 rue Voltaire. This exhibition continues until 15^th March. 

The recycled vending machine is beautifully reconditioned by our sculpture Vincent Gontier and our graphic artist Céline Charles. 

The machine contains artists’ multiples made in a variety of media (paintings, video, sculpture, photographs, which are signed unique works from 30 international artists. All the works can be purchased for a very reasonable price.

You must also visit Restaurant Du Petit Lac in St Egreve where Jac the owner has invited 24 or more artists from Grenoble to design a table. All the tables are on display can be eaten off and are really great. This is a project worth seeing  and I have a table also there.

Mutations – an exhibition of recent paintings and glass works by Mary Veale – continues at Moulin Villancourt, Pont de Claix, until 20^th March.

Now that the snow in Grenoble has almost melted (insert a “boo!” or “hurray!” here, depending on your proclivity), here is a reminder of what you may or may not now be missing - some magical photos of the city under the snow from our resident photographer Suzanne Bonnefond.

Sanford Kogan and Patricia Andreoli-Jones

Patricia Andreoli-Jones meets light sculptor Sanford Kogan in advance of the opening of his exhibition at MK’ Gallery in Grenoble this week.

When I met Sanford Kogan for the first time yesterday, he was trying to purchase an antique glove-making machine from the oldest glove shop in Grenoble for one of his light sculptures. The shop keeper couldn’t oblige, as this object will soon be found in a glove museum. However, with the introduction of the Musical Transformation Lights artist I was hooked and followed Sandy just around the corner to the MK’ gallery where some of his artwork is exhibited, the grand opening being Friday 11^th December at 6.30 pm.

You can find a traditional blueberry-picking comb, threaded onto a weaving bobbin on a metal pulley pedestal, the light diffused by an 18^th century parchment (dated July 28, 1755) being just right to set a warm atmosphere, see photo 1 below.

photo 1

A trumpet held in mid-air by an art-deco foot and a light glowing through an opaque glass flower could be used as a working light (see photo 2 below).

photo 2

One of the bigger pieces is also on exhibition, when it’s lit you can truly understand the idea of light-play with the shadows it throws on the surrounding walls and ceiling (see photo 3 below).

photo 3

Wanting to know more I suggested a drink at the Bookworm Café, just over the bridge from us (top).

Patricia: Where do you come from, how long have you been in Grenoble, and what brought you here in the first place?

Sanford Kogan: I was born in Richmond, Virginia, where I grew up. I was sent to France by my company as a European Program Manager. In my spare time, I pursued my art, and for two years now I have had more time for my art explorations. As a teenager I was into photography and this sensitised me to light in a great way. I started my light sculptures in 1985 with different musical instruments. Eventually this expanded to include old tools, fireplace pots, heat reflectors, handwritten paper and musical scores, balance scale trays, faucets, spigots, spoons, metal wheels, and binoculars, to name only a few. These objects can be typically found in garage and boot sales, my main aim being then and to this day, to play with light, to transform it through different objects.

Patricia: Has your art evolved since you came to France?

Sanford: There’s an immense richness of material to be found in the local brocantes: art deco lamp shades, brass and copper bits, 18^th and 19^th century hand-written paper, as well as 70 year old pieces of machinery with surprising shapes, old locks that only need to be opened to reveal an intricate world of wheels, all of which inspires me for new sculptures. Oh, and wrenches and faucets of the ’30s, do you know what I mean … ?

I didn’t, so there was a good excuse to visit Sanford’s “workshop”, as he modestly calls it. Overlooking the Place Sainte Claire, a beautiful old apartment, perfectly waxed wooden floors (I was asked to take my shoes off), high ceilings with the most exquisite art-nouveau chandeliers (restored and put together by my host). And standing to attention – more sculptures, bigger, more imposing than the ones in the shop. Almost human by their presence, each individual has a unique way of lighting the room. I’m amongst friends here, I wouldn’t mind spending the evening in their company … Sanford comes in brandishing a wrench:

Sanford: See this, isn’t it just beautiful?

I’m back on earth again and glad he said “it”, my finely sculpted friends wouldn’t understand such enthusiasm for such a crude object. Only a true creator can show a wrench such devotion. I left shortly afterwards, my head full of his mind-boggling creations.

The exhibition will be at the MK’ Gallery*, 4 rue Dominique Villars, until 31^st December, open from Monday to Saturday from 2.30 pm to 6.30 pm

After this date, or for more information, please contact S.D. Kogan:
sdkogan (at) yahoo.com
www.musical-transformations.com

*MK’ Gallery is held by artist Marie Killy. Her pastels, colored inks and oils depicting life in the south of France and North Africa are an enchantment.

Grenoble Life: What is VSArt?

Meredith Charreyron: VSArt is a French association, based in Paris, in existence for 22 years. Its purpose is that of bringing cultural activities to the less fortunate in a manner that promotes personal exchange, in an “interactive” form.

GL: What sorts of activities?

Meredith: VSArt’s Grenoble chapter (now five years old) is divided into three sectors, organizing and promoting cultural activities in each:

• Musical – proposing concerts and workshops, be they classical, jazz, variety
• Artistic/manual: organizing craft and arts workshops (floral composition, jewelry-making, photography, painting and sculpture …)
• Computer training: where we teach those with limited means basic computer skills on a one-to-one basis (every Friday, in La Villeneuve)

GL: How did you get involved?

Meredith: I lived near Paris, performed regularly in small chamber music ensembles and came across VSArt musicians by chance at one of their concerts. I made initial contact with the head of the music sector at VSArt’s headquarters (Paris XVI) and engaged myself, promising a few hours of administrative work with the team each Tuesday.

GL: You opened the Grenoble chapter for VSArt. What did this involve?

Meredith: When I moved to Grenoble six years ago with my family, I knew no one in the area. I was anxious to start making contacts in the music world, and was also anxious to find some friends! The music solution came quickly, once I learned of the existence of Musiques Pour Tous, an association that has existed locally for some 32 years and brings together amateur and semi-professional musicians of all kinds. Once a part of this network, I saw the possibility of starting up a VSArt chapter on a small scale, offering musical animations as our “cultural product”. So I pulled out the yellow pages, contacted several centers for the aged, the handicapped, and took it from there …

GL: Tell us about some of your volunteer members and where they come from.

Meredith: One of the true riches of the Grenoble chapter of VSArt lies in the diversity of its volunteer members. There are about 65 of us: most of the musicians are French but on the artistic side we have a pool of 30 (mostly female) members. They are of all ages, 11 nationalities, varied backgrounds. Meeting each other, working together, sharing our talents – all part of the pleasure enjoyed by these volunteers (of which I am one!).

GL: VSArt collaborates regularly with Café Nicodeme – tell us more about this relationship.

Meredith: Café Nicodeme, in the heart of Grenoble, is just one of the “centers” where VSArt intervenes. For the past two years we have held monthly jewelry-making workshops for Nicodeme members. The rapport between our two associations is a particularly gratifying one. Since you are interested in this collaboration, I suggest that you view this télévideo that shows us working together.

GL: Tell us about some upcoming events organized by VSArt

Meredith: Each year members of VSArt’s music sector organize events in the form of fundraising concerts that are open to the general public. Our annual classical concert will again be held at the Bertet Musique auditorium in Gieres, Sunday March 27, 18:00–19:30. In 2010 we will again hold a series of private concerts (in people’s homes).

GL: Could you tell us a little about your background?

Meredith: In order of importance to me: I am a mother of four (and wife of one Frenchman) who has relocated her family nine times. I’m a former hotel marketing professional, a teacher, a flutist and an avid “sportive”. Why did our family relocate this last time, from Paris to Grenoble in 2003? … My husband’s career brought us here.

GL: How can people participate in VSArt activities?

Meredith: I suggest that any interested parties first consult the VSArt site, and click on “implantation- Grenoble” once you’ve understood what goes on nationally. 

You can read the short text and view the three télévideos I have referred to, in order to have a good idea of what our cultural workshops are all about. You should know that these activities take place almost exclusively on weekday afternoons.

If your interest continues, feel free to email our local team or give a call. Our recruiters would be happy to meet with you after sending you more information on VSArt Grenoble.

Contact:
Meredith.Charreyron (at) gmail.com
06 74 50 67 40

Saint Hugues Church, Chartreuse

 Cynthia Caughey is author of The Video Diary of an American in France – her adventures as an American woman starting life over at 50 in the French Alps … with videos, photos, regional recipes, travel tips, and a few laughs about adjusting to life in France. She has kindly agreed to share this video about a visit to the Chartreuse.

by Cynthia Caughey

“Chartreuse is a small region about 30 minutes outside of Chambéry in Isére. There are several quaint, mountain villages which are worth driving through, but what’s even more beautiful is the scenery of the mountains, hills, forests and pastures. It may be the most gorgeous scenery I’ve seen yet in the region which explains why we frequent it on our motorbike.

The main little town is called St. Pierre du Chartreuse; near the town are the museum and the Abby, which was first settled in the 1100s by a Monk who came to the area for isolation and solitude. The Abby is still occupied by monks who have taken an oath of silence. Visitors are usually not allowed. Their income is made from the liquor they produce which is also called Chartreuse. It’s quite famous in France. It has an herbal taste, and frankly, I don’t care for it, however you can take a tour of where they make it and other liquors in Voiron, which is a 45 minute drive away. The tour includes a tasting of the local liquors – some of the fruit flavored ones are excellent. The monks run almost the entire operation from their computers back at the abby and only two monks know the Chartreuse liquor recipe, which dates back to the 1700s.

For me, however, the best place to stop in St. Pierre du Chartreuse is the Saint Hugues Church. It is filled with contemporary religious art by Arcabas and is glorious to see. Most French people in Chambéry don’t even know about the church so this is truly a wonderful secret to discover.”

Oven-cooked, stuffed 'Potimarron' pumpkin!

Regular Grenoble Life contributor Suzanne Bonnefond takes a seasonal opportunity to share her photos of Foire A L’Ancienne Et Aux Potirons in St Antoine l’Abbaye, and her recipe for stuffed potimarron pumpkin. Enjoy …

by Suzanne Bonnefond

On October 25^th there was the Foire A L’Ancienne Et Aux Potirons in the medieval village of St Antoine l’Abbaye, Isère. On that note, here is a stuffed pumpkin recipe.

Stuffed 'potimarron'

Stuffed potimarron

Potimarron is the small orange variety of pumpkin that you can find in all the markets.

Rub a little oil on the pumpkin to give it a nice colour once cooked. Boil the whole potimarron in water for about 10 minutes, so that it will be easy to cut. Then, open it and remove the seeds, fill it with cooked vegetables, and add fresh cream or water, grated nutmeg, and salt and pepper. You can add gruyère on top if you like but personally I keep it simple, as it already has a delicious chestnut-like taste.  Cook in the oven for a good half an hour, the flesh of the potimarron will be very tender.

Enormous pumpkins: St Antoine l’Abbaye

Pumpkin cart: St Antoine l’Abbaye

All manner of 'courges': St Antoine l’Abbaye

Walnuts and 'courges': St Antoine l’Abbaye

The market in St Antoine l’Abbaye

Il y avait une foire aux courges à St Antoine, et j’en profite pour vous donner la recette du potimarron farci

Recette du potimarron farci

Le potimarron, c’est la petite courge c ouleur orange que l’on trouve sur tous les marchés.

Enduire le potimarron avec un peu d’huile pour lui donner une belle couleur à la cuisson. Faire cuire le potimarron entier dans l’eau bouillante pendant 10 minutes environ, ensuite on pourra le couper facilement. Le couper pour pouvoir le vider de ses graines, puis le remplir de légumes déjà cuits, avec eau, ou crème fraîche, et de la noix de muscade, sel, poivre … on peut ajouter du gruyère … je n’en mets pas je le fais le plus simplement possible, car la chair a un délicieux goût de châtaigne. Laisser cuire au four une bonne demi heure … la chair du potimarron va se détacher …

1. The plateau of St Hilaire, where the Coupe Icare takes place

Suzanne Bonnefond is an enthusiastic amateur photographer and contributor to the Grenoble Life gallery. In the first of a series of posts on local walks, she takes us to a ruined mill near St Hilaire du Touvet.

by Suzanne Bonnefond

An interesting place to go to on a fine autumn day, ideal for those who like unusual historical spots …

Near St Hilaire du Touvet, go to “Les Gaudes” and leave your car in the car park just nearby. It is next to the paragliding launch point – if the weather is fine you can watch them taking off (photos 1–3). Then, follow the yellow signs to “Porte Traine – Cascade des Dioux” a twenty-minute walk across the fields (photo 4). Next, take the little trail that goes down along the stream (photo 5) – be careful as it can be slippery – and admire the waterfall “Cascade des Dioux” (photos 6 –7). A bit further down, cross a bridge (photo 8), and there you will discover this strange place: old millstones covered with moss, a medieval oil mill (9 –13). We would like to imagine this place is haunted by Jacques de Porte Traine, the miller of the Bishop of Grenoble, who ran the place in 1275 and – with Photoshop – it’s possible (photo 14)!

2. Paragliders

3. Paragliding

4. Morning on le plateau des petites roches

5. the path

6. la cascade des Dioux

7. cascade des dioux

8. the bridge

9. le moulin de porte-traîne

10. le moulin de porte-traîne

11. Millstone

13. Ruined mill - we can imagine we were in the jungle

13. le moulin de porte traîne

14. Ghost of Jacques de Porte Traine

Par une belle journée d’automne, une promenade idéale pour ceux qui aiment les lieux insolites : le plateau des Petites Roches, la cascade des Dioux et le Moulin de Porte Traîne … un lieu historique et mystérieux

Prendre la direction de St Hilaire du Touvet,  puis les « Gaudes » . Se garer sur le parking des Gaudes … On est tout près du terrain de décollage des parapentes, alors s’il fait beau, c’est un plaisir de les voir décoller (Photos 1–3). Puis suivre les pancartes jaunes « Porte-Traine – Cascade des Dioux »  20 mn – c’est donc très proche – une courte ballade à travers les prairies (photo 4). Puis on emprunte un sentier (photo 5) – qui descend, et qui peut être très glissant car il longe le torrent, et admirer « la cascade des Dioux » (6 – 7). Un peu plus bas, on traverse un petit pont (photo 8) et voila un lieu mystérieux : un ancien moulin à huile qui date du moyen âge … Il reste quelques meules de pierre… (photos 9–13). On se plait à imaginer ce lieu hanté par Jacques de Porte Traîne, meunier de l’Evêque de Grenoble, qui exploitait ce moulin vers 1275 (photo 14). On en rêvait !! Photoshop l’a fait !!

A barn in Vercors

Suzanne Bonnefond is an enthusiastic amateur photographer and contributor to the Grenoble Life gallery. A long-term resident of the Grenoble who has also lived in Paris and London, she kindly agreed to share her sightseeing photos around Grenoble.

by Suzanne Bonnefond

Photography is my hobby. I like to take pictures of scenery, romantic places and close-up portraits of flowers. I always try to give my photos a poetic touch.

In Grenoble we can easily reach a lot of beautiful places without having to walk for a long time. These photos will show you wonderful places for family walks.

waterfall near la Grave

in summer … Lavaldens

Chartreuse, le Granier

la Meije

Fishing in a mountain lake in Belledonne

le Chazelet, Oisans

le Chazelet in July

Wild flowers in Oisans – Gentian

Just a leaf

le Chazelet

The glacier – la Meije (you can reach it by cable car)

la Meije

la Meije

The glacier – la Meije (you can reach it by cable car)

la Meije seen in summer from l’Alpe d’Huez

“Keep walking at rue Saint Laurent”

Prakhar Amba is an avid amateur photographer and regular contributor to the Grenoble Life Gallery. On 18th July 2009 he participated in the Worldwide Photowalk in Grenoble, Grenoble Life invited Prakhar to share his photos and experience …

by Prakhar Amba

“Keep Walking” says the logo of a leading whisky manufacturer. It is slightly difficult for me to imagine the sight of a figure in a black hat and waistcoat striding along with a half empty bottle in his hand. Oops! He tripped and fell down! Anyway, it could serve well for photographers who like to bring out the extraordinary in the seemingly mundane tasks and places which occupy our lives. On 18th July a Worldwide Photowalk was organized where more than 32,000 photographers walked (and shot thousands of photos) in more than 900 cities of the world. I walked in Grenoble.

For me the best way to see a city is not to visit its monuments and museums but to walk in its streets, for it provides a window to observe the daily rhythms of the life of its denizens. So I love to walk, in the rush hour or the afternoon pause, to observe life flow around, oblivious of the clothes lines, the graffiti, the flowerpots on the balcony, the empty beer cans, the rusty paint and so many small things which gives each city a unique character. On July 18th 2009 I walked in the company of 40 other photographers, which made it even more interesting because each individual has his own way of approaching the street. It was a sensory overload to walk the streets of Grenoble through the eyes (or the lens) of so many.

"Kids with cameras"

We started from Place aux herbes and walked towards the Quai underneath snow flake-shaped electric lights and worn-out shoes hanging between balconies. I am yet to understand the significance of the shoes being hung in the city streets – back at home it would be to ward-off evil. We walk through narrow alleyways along shops evoking Aromes D’Asie & D’Orient and several restaurants from all four corners of the world. All around me are people shooting and, well, we are a sight in ourselves. Seeing so many cameras a little boy gets excited and has his moment of fame.

"Rock da party"

A little further along someone is enjoying his cuppa of mint tea in a couscous shop. If the world was black and white, England would be tea and France would be café, but thankfully we live in shades of grey and so in France we can enjoy aromatic tea and tisane.

"Mint tea"

Closer to the Quai Stéphane Jay a girl walks by as the signal turns green. As an Indian, I am told by the French how colourful my country is. No doubt, but I should say so is France, home to the fashion industry which is, afterall, all about colour. In India tea is always brown but here I have drunk tea in shades of vanilla, mint, orange and several others. A glass of red wine adds colour to your meal. And red and green chairs add colour to the streets of Grenoble.

"... and she walks away"

Finally the Quai, to the sight Grenoble is famous for: Les Bulles. There was a photographer who made the same shot with a pinhole camera. He had stuck a hole in a tin spaghetti can and put a black tape to cover it. Inside there was light-sensitive film: peel the tape off to make an exposure. I always saw those in physics books but this was the first time in action. It was difficult to frame shots at the bridge because there were so many photographers around. As I walked across the bridge an old lady walked her four dogs, someone flew a kite in the middle of the bridge and many watched the world pass by from their balconies.

Grenoble - Les Bulles

On the other side of the bridge at “La Cymaise” someone enjoyed his smoke while another his café and croissant. And all the while people kept shooting. There was one crouched on road waiting for the man to light his smoke. As an old photographer’s guidebook says, “one mans smoke is another man’s photo”. Ok, no one says that but I personally find smokers an interesting subject. The way they hold the stick, the smoke breathing out of the nose and the signs of pleasure of their face.

"Café and croissant"

"Smokers at La Cymaise"

"Draw a smoke"

Now we climb towards the Musée Dauphinois, and here its not the artwork displayed inside but the gentle curve of a door knob which makes me wonder of the countless hands which turned it.

"Turn me gently"

Have you seen the movie Amélie (Le Fabuleux Destin d’Amélie Poulain)? In the movie one of Snow White’s dwarves travels around the world getting photographed at all the major sights. People have their idiosyncrasies, they like to get photographed with their Bugs Bunny and Mickey Mouse at the Taj Mahal or the Eiffel Tower. I met one who liked to photograph his (not her) Barbie doll.

"Barbie on a fence"

We climb down and walk through Place Victor Hugo to one of Grenoble’s well kept secrets, the Garage Hélicoidale just behind the FNAC. You enter it amidst the sooty walls and smell of fumes not expecting to see much really but its so much more than just un parking. Numerous floors wind upwards in a circular helix topped by a glass roof that becomes its source of skylight, emphasizing and illuminating its climbing gradient. The best part of the for me was to see the whole structure reflected in a car parked in the basement.

"Garage Hélicoidale"

Goodbyes said and ‘Au revoir’ wished and we disperse. I walk back home with the thought in my head “Keep walking and keep shooting” – for in each nook and corner of our world are hidden moments worth capturing. Even garages can be more than just for parking your car and then forgetting where you left it.

Prakhar Amba is an accomplished photographer and regular contributor to the Grenoble Life Gallery, including these magical ones of Fête de la musique 2009 in Grenoble. The pictures suggested a story, and Grenoble Life invited Prakhar to tell his …

by Prakhar Amba

Whenever I ask the French what they miss most when they visit foreign countries, the most common responses in order of priority are le pain and le fromage. There is never a third response. Now I am an Indian, a country best described by the word ‘diversity’, be it languages, colours, smells, spices or music.  Music is everywhere in India, it is in the loudspeaker playing the latest Bollywood hit, the brass band blaring in a marriage procession, the cacophonous symphony of the tuc tuc’s horn as it criss-crosses the traffic, or the prayers at the banks of holy rivers. Life for us revolves around music. After all, even our Gods are master of their own musical instruments, be it Krishna’s flute or Shiva’s daamru.

Needless to add, the thing about India I miss the most is music. Here in Grenoble, the streets are silent, even the traffic is muted. So I anxiously awaited La fête de la musique on June 21st, and I was not disappointed. But how does one write about music? After all, Victor Hugo said “Music expresses that which cannot be put into words and cannot remain silent”. Words fail me, but maybe images say it better, for they are stuck forever in the moment when the singer lets go and you are immersed in the note never to escape. So I set off for the centre ville in the pleasant Sunday afternoon on my metro vélo with my camera. The wind blowing in my hair, my ears open to catch any musical notes floating by. And the soft notes of violins pull me to the church next to Place Victor Hugo.

Here a group of children played their violins. Ah violins! There already is something mystical about its curves and the mirrored ‘s’. To behold the sight of kids nimbly working the strings and the accompanying gasps from the parents is quite something. After all, music is not only played by the musician but has to be appreciated by the listeners. It reminded me of a poem by Tagore I read in school which spoke of music being born from the crash of the sea waves (player) on the shore (listener). Music of the wind (player) rustling through the forest (listener) and here before me was the same interplay between the player and the listener.

To add to the magic of the moment was the conductress who, through the swish and swirl of her hands, wove tales of love and despair in the music.

I also found a little cherubin sitting in a corner, practicing her violin with her friends. You know the shot which makes you smile, when you know you captured the moment right. For me it was this. I don’t know the music they played, Vivaldi or Beethoven, it didn’t matter for me. For me a smile played on the faces of everyone present. The performance ended, and endless claps and graces later the group dispersed. The violins are packed in their cases for another day.

I move on to another street where a girl sings enchantingly. She sings in English but music knows no language and it is appreciated by all. She sings jazz, or was it blues or maybe folk? I know not. For me she sung from her heart, she sung of love and longing.

Sometimes I wonder why most of our songs are about love and the most beautiful of them are those of love lost.  Maybe it’s because we as humans fare poorly in expressing our love for another through words that we burst into a song to do the same. No doubt in Bollywood every expression of love is faithfully followed by a song. To say ‘I love you’ to someone for the first time is never going to be easy until you practice it a hundred times, setting it to the tune of your favorite song. Even mystically speaking, Sufism is for instance a facet of Islam in which divine love for God is expressed through music. Similarly with Hindus, the Bhakti tradition is love songs for the mystical lover, Krishna.

And now its time for some punk – around the corner a group plays with the lead singer swaying in her skirt causing the traffic to snarl down while onlookers gulp down glasses of beer. I thought France was more about wine but it seems with music it has to be beer. Music beckons me to move forward, somewhere from a narrow alley flows a song in a language which I know not of. Maybe it’s Spanish or Portuguese or Zulu, I care not for I can move to the beats of the drum and the singer, she has nirvana written all over her face. She sings as if she is in a trance.  I imagine she sings of reunion with her lost lover for otherwise I cannot explain her expression.

She opens her eyes and all is silent. We wait maybe for a cue before everyone breaks into applause. A moment of awakening. And then there is guitar solo. The guitar is I believe one of the most versatile instruments, from the Spanish to the electric it has a certain aura about it and can break into the most beautiful and unexpected notes. So here was the guy who performed a duo with the girl with the drums and made people tap their feet.

I move on towards the Gare but the streets are silent so I decide to explore the river side. On the bridge from where you can see the cable car (les bulles) are a group of musicians preparing their gig. So I cross over to reach the lane of Italian pizzerias. I find Grenoble to be a gastronomical delight even compared to Paris, for here you can find good Indian restaurants and also authentic pizza. Coming back to matters of music, a delightful sight beholds me. It’s dancing skirts or, as my dad remarked on seeing the photos, dancing lehengas. Now lehenga is traditional Rajasthani dress worn by the bride at Indian marriages. One can always find similarities between cultures.

I first thought they were Italians – after all I was standing outside a pizzeria – but the music, no, it carried tones of South America and yes, they were Colombians. The music had the energy to make your foot tap but the best part was the swirling skirts, the elegance. Enough to make the passing cars honk to the beats of music. Yes, it felt like India where the traffic contributes to the music of life. It got better when I meet a friend there who introduced me to the group. The girl in maroon is the sister of the girl in pink and the one in red is their mother. The little girl whose expression I call ‘I dream of Jeannie’ is the daughter of the girl in pink. So we had three generations dancing and singing together.

Now, about the little girl. Do you know the American serial ‘I dream of Jeannie’ where the Genie granted you your three wishes by twitching her eyes? This little girl was just like her. I wonder what she wishes me. I was granted my three wishes, good music, good photographs and memories of back home. Later, I joined the group for a drink in a café nearby. See the benefits of the La fête de la musique? Making new friends. So we sat and discussed, I a little humbled in presence of such talented musicians and singers. When the question popped up – what instrument do I play? I replied, ‘none’, for I am the listener, I am the one who appreciates their magic.

Evening falls and I walk in the small lanes along Bastille where different styles of music, French, African, American, and from all nooks and corners of this wide world, fuse together to create a new symphony of harmony. We may have barriers of languages between us but music joins us for we can dance to any rhythm. Another thing I noticed was how there was space for all different kinds in the same small lane, it teaches us small lessons of co-existence with the other.

Later I walked back to Place Victor Hugo and now the space was taken by the rock gigs and an endless mass of people moving around. It was heartening to walk in the city awake even late at night, people breaking into spontaneous dances, some kissing and some holding hands. It felt good to be a part of the crowd, felt like home. To end, my favorite French instrument, I encountered it in 2000 when I first visited Paris. I still don’t know its name but it has its charms. I visited Sacré Coeur in Montmarte and there was an old man with a red cap turning little punch cards into it with a lever and out flowed music that reminded me of childhood. So here it was again in Grenoble.

Grenoble University Campus

I visited the Grenoble University Campus for the first time in a while last weekend and spent some time enjoying the Brutalist architecture. As someone who also studied at a university built during the much-maligned architectural wildnerness of the 50s and 60s, and who subsequently went on to work at London’s monolithic South Bank Centre, there is a special place in my heart for these visions in concrete. I think the style has long passed its nadir in terms of fashion and popularity, and we have begun to accept such buildings as part of our urban and cultural landscape. We no longer immediately associate such concrete idealism with the failed high rise housing estates. Walking around campus on a sunny May Sunday, it was easy to appreciate the original vision: the blend of functional concrete and broad lawns. Frankly the abundance of greenery and uncrowded assembly of buildings was refreshing after the more tightly-knit pressures of the city centre. Here are some pictures – let me know what you think.

Opposite the student union