{"id":592261,"date":"2025-12-11T06:53:17","date_gmt":"2025-12-11T06:53:17","guid":{"rendered":"https:\/\/www.europesays.com\/fr\/592261\/"},"modified":"2025-12-11T06:53:17","modified_gmt":"2025-12-11T06:53:17","slug":"larbre-dans-les-arts-et-la-litterature-autour-de-la-photographie-de-michael-kenna-grenoble","status":"publish","type":"post","link":"https:\/\/www.europesays.com\/fr\/592261\/","title":{"rendered":"L’arbre dans les arts et la litt\u00e9rature. Autour de la photographie de Michael Kenna (Grenoble)"},"content":{"rendered":"

Appel \u00e0 communication\u00a0: L\u2019ARBRE DANS LES ARTS ET LA LITT\u00c9RATURE. AUTOUR DE LA PHOTOGRAPHIE DE MICHAEL KENNA.<\/strong><\/p>\n

Date et lieu de rencontre\u00a0: vendredi 27 novembre 2026 au lyc\u00e9e Champollion \u00e0 Grenoble (France)<\/strong><\/p>\n

Date limite de proposition: 1er mai 2026<\/strong><\/p>\n

\u00a0Le Lyc\u00e9e Champollion, en lien avec l\u2019Universit\u00e9 Grenoble Alpes et la Maison de l\u2019Image \u00e0 Grenoble, continue son cycle de journ\u00e9es d\u2019\u00e9tude internationales autour des diff\u00e9rentes th\u00e9matiques et techniques li\u00e9es \u00e0 la photographie de Michael Kenna (1953-\u2026), photographe britannique expos\u00e9 dans le monde entier.<\/p>\n

\u00a0Cette deuxi\u00e8me journ\u00e9e d\u2019\u00e9tude vise \u00e0 mettre en lumi\u00e8re une autre source d\u2019inspiration majeure de son \u0153uvre\u00a0: la repr\u00e9sentation de l\u2019arbre. Depuis la fin des ann\u00e9es 1970, Kenna a photographi\u00e9 les arbres de mani\u00e8re assidue\u00a0: une premi\u00e8re exposition, en 2011, organis\u00e9e par la galerie KONG qui le repr\u00e9sente \u00e0 S\u00e9oul, montrait une s\u00e9lection de ses photographies d\u2019arbres avec, en accompagnement, la publication d\u2019un catalogue intitul\u00e9 Philosopher’s Tree. Le choix du titre pour pr\u00e9senter sa pratique photographique sur les arbres est caract\u00e9ristique de la d\u00e9marche de Kenna. Ce nom devient le symbole de tout un travail\u00a0: l\u2019arbre permet au photographe une rencontre \u00e0 la fois physique, sensible, intellectuelle, esth\u00e9tique, mais \u00e9galement m\u00e9taphysique avec la nature.\u00a0<\/p>\n

\u00a0Kenna travaille la puissance structurante des arbres dans le paysage. Le caract\u00e8re souvent hivernal de ses d\u00e9cors d\u00e9voile l\u2019exceptionnelle beaut\u00e9 de ses sujets, l\u2019\u00e9quilibre des formes, le d\u00e9veloppement harmonieux et g\u00e9om\u00e9trique des branches et des troncs. Gr\u00e2ce aux ouvertures de pose tr\u00e8s longues, qui peuvent durer jusqu\u2019\u00e0 dix heures, ses images d\u00e9voilent des \u00e9l\u00e9ments que l\u2019\u0153il humain, le plus souvent, ignore ou ne peut percevoir. Pour citer Chantal Colleu-Dumond qui a pr\u00e9fac\u00e9 Arbres datant de 2022, \u00ab\u00a0comme par un effet de synesth\u00e9sie, ses images d\u2019arbres sont emplies d\u2019un myst\u00e8re particulier et d\u2019un silence absolu qui leur donnent un caract\u00e8re d\u2019\u00e9vidence et d\u2019universalit\u00e9\u00a0\u00bb. (2022, 4)<\/p>\n

\u00a0Chantal Colleu-Dumond va plus loin en faisant de notre exp\u00e9rience avec la photographie d\u2019arbres de Kenna une r\u00e9v\u00e9lation de notre rapport au temps\u00a0: \u00ab\u00a0Le temps des arbres n\u2019est pas celui des hommes, Michael Kenna souligne autant leur p\u00e9rennit\u00e9 que notre finitude\u00a0\u00bb (2022, 4). Mais la pratique de Kenna nous ram\u00e8ne \u00e9galement \u00e0 la notion de temporalit\u00e9, de dur\u00e9e et de s\u00e9rie. Kenna aime photographier les ch\u00eanes\u00a0: il est ainsi tomb\u00e9 amoureux d\u2019un grand ch\u00eane dans la ville de Beaverton, proche de Portland, Oregon. En juin 2021, Kenna a commenc\u00e9 une s\u00e9rie de portraits du ch\u00eane de Beaverton. Un an plus tard, il a rassembl\u00e9 d\u00e9j\u00e0 une s\u00e9lection de 83 photographies, mettant \u00e0 profit le confinement qui lui a permis de mettre en sc\u00e8ne cet arbre dans un espace vid\u00e9 de ses habitants. Les photographies de ce ch\u00eane par Kenna nous renvoient aux d\u00e9buts de la photographie avec les prises de vue de ch\u00eane r\u00e9alis\u00e9es par William Henry Fox Talbot au milieu du XIXe si\u00e8cle qui faisait des arbres les sujets id\u00e9aux \u00e0 une \u00e9poque o\u00f9 la photographie n\u00e9cessitait de longs temps de pose qui provoquaient un flou pour tout \u00e9l\u00e9ment non statique.\u00a0<\/p>\n

\u00a0Nous vous invitons donc \u00e0 voir ces \u00eatres majestueux sous un nouveau jour, \u00e0 \u00e9couter les le\u00e7ons de ces autres qu\u2019humains \u00e0 une \u00e9poque marqu\u00e9e par un n\u00e9cessaire retour \u00e0 la terre, \u00ab\u00a0The Land\u00a0\u00bb, titre de l\u2019exposition de Bill Brandt qui a r\u00e9v\u00e9l\u00e9 \u00e0 Michael Kenna sa vocation de photographe de paysage en 1976.\u00a0<\/p>\n

Les principaux th\u00e8mes abord\u00e9s\u00a0:<\/strong><\/p>\n

1) L\u2019arbre dans l\u2019\u0153uvre de Michael Kenna<\/p>\n

2) L\u2019arbre dans l\u2019histoire de l\u2019art\u00a0: lien possible avec les peintres du XVIIIe et les photographes du XIXe<\/p>\n

3) L\u2019arbre \u00e0 l\u2019\u00e9cran<\/p>\n

4) L\u2019arbre dans la cr\u00e9ation litt\u00e9raire<\/p>\n

5) L\u2019arbre comme sujet de droit, d\u2019agentivit\u00e9 ou de discours<\/p>\n

6) L\u2019arbre comme abstraction et architecture minimaliste naturelle<\/p>\n

7) L\u2019arbre en tant que symbole politique et \u00e9cologique<\/p>\n

8) L\u2019arbre comme axe vertical \/ pont spirituel entre le visible et l\u2019invisible<\/p>\n

9) L\u2019arbre et le rapport au temps\u00a0: la notion de pose longue, de s\u00e9rie et de r\u00e9p\u00e9tition<\/p>\n

10) L\u2019arbre et la m\u00e9moire\u00a0: symbole local ou universel\u00a0?<\/p>\n

Les communications pourront donner lieu \u00e0 publication.<\/p>\n

Les propositions seront compos\u00e9es d\u2019un seul fichier intitul\u00e9 du nom de la personne r\u00e9pondant \u00e0 l\u2019appel\u00a0; elles comporteront une courte biographie (une page maximum) et la proposition de communication (3 000 signes maximum espaces compris). Elles pourront \u00eatre r\u00e9dig\u00e9es en fran\u00e7ais ou en anglais.<\/p>\n

Date limite de l\u2019envoi \u00e0 l\u2019adresse\u00a0jearbrekenna@gmail.com<\/a>\u00a0: 1er mai 2026.<\/strong><\/p>\n

Projet soutenu par l\u2019universit\u00e9 Grenoble-Alpes, axe transversal Cr\u00e9ation culturelle et territoire(s) du laboratoire ILCEA4 1 EA 7356.<\/p>\n

Call for papers: TREES IN THE ARTS AND LITERATURE. AROUND MICHAEL KENNA\u2019S PHOTOGRAPHY<\/strong><\/p>\n

Date and venue: Friday, November 27 2026 at Lyc\u00e9e Champollion, Grenoble (France)<\/strong>
Deadline for submissions: May 1, 2026<\/strong><\/p>\n

\u00a0The Lyc\u00e9e Champollion, in collaboration with Grenoble Alpes University and the Maison de l\u2019Image in Grenoble, continues its series of international study days on various themes and techniques related to the photography of Michael Kenna (1953-…), a British photographer whose work has been exhibited around the world.<\/p>\n

\u00a0This second study day aims to highlight another major source of inspiration for his work: the representation of trees. Since the late 1970s, Kenna has been photographing trees assiduously: a first exhibition in 2011, organised by the KONG gallery that presents his work in Seoul, showed a selection of his photographs of trees, accompanied by the publication of a catalogue entitled Philosopher’s Tree. The choice of the title to present his photographic practice on trees is characteristic of Kenna’s approach. This name becomes the symbol of an entire body of work: trees allow the photographer to encounter nature in a way that is physical, sensitive, intellectual, aesthetic, but also metaphysical.\u00a0<\/p>\n

\u00a0Kenna explores the structuring power of trees in the landscape. The frequent wintry nature of his settings reveals the exceptional beauty of his subjects, the balance of their forms, and the harmonious, geometric development of their branches and trunks. Thanks to very long exposure times, which can last up to ten hours, his images reveal elements that the human eye usually ignores or cannot perceive. To quote Chantal Colleu-Dumond, who wrote the preface to Arbres in 2022, \u201cas if through a synaesthetic effect, his images of trees are filled with a particular mystery and absolute silence that give them a sense of obviousness and universality\u201d (2022, 4). Chantal Colleu-Dumond goes even further, making our experience with Kenna’s tree photography a revelation of our relationship with time: \u201cThe time of trees is not that of humans; Michael Kenna emphasises their permanence as much as our finitude\u201d (2022, 4). But Kenna’s practice also brings us back to the notion of temporality, duration, and series. Kenna loves to photograph oak trees: he fell in love with a large oak tree in the town of Beaverton, near Portland, Oregon. In June 2021, Kenna began a series of portraits of the Beaverton oak. A year later, he had already assembled a selection of 83 photographs, taking advantage of the lockdown, which allowed him to stage this tree in a space emptied of its inhabitants. Kenna’s photographs of this oak tree take us back to the early days of photography, with William Henry Fox Talbot’s mid-19th century shots of oak trees, which made trees the ideal subjects at a time when photography required long exposure times that caused blurring for any non-static elements.\u00a0<\/p>\n

\u00a0We invite you to see these majestic beings in a new light, to listen to the lessons of these non-humans at a time marked by a necessary return to \u201cThe Land,\u201d the title of Bill Brandt’s exhibition that revealed Michael Kenna’s vocation as a landscape photographer in 1976.\u00a0<\/p>\n

The main themes covered:<\/strong><\/p>\n

1) Trees in the work of Michael Kenna<\/p>\n

2) Trees in art history: possible links with 18th-century painters and 19th-century photographers<\/p>\n

3) Trees on screen<\/p>\n

4) Trees in literary creation<\/p>\n

5) Trees as subjects of law, agency, or discourse<\/p>\n

6) Trees as abstraction and natural minimalist architecture<\/p>\n

7) Trees as political and ecological symbols<\/p>\n

8) Trees as vertical axes\/spiritual bridges between the visible and the invisible<\/p>\n

9) Trees and their relationship to time: the concept of long exposure, series, and repetition<\/p>\n

10) Trees and memory: local or universal symbols?<\/p>\n

Papers may be published.<\/p>\n

Proposals should consist of a single file headed by the name of the lecturer; they should include a short biography (maximum one page) and the paper proposal (maximum 3,000 characters including spaces). They may be written in French or English.<\/p>\n

Deadline for submission to\u00a0jearbrekenna@gmail.com<\/a>\u00a0: May, 1st 2026.<\/strong><\/p>\n

The project is supported by Grenoble-Alpes University, axe transversal Cr\u00e9ation culturelle et territoire(s), ILCEA4 scientific laboratory EA 7356.\u00a0<\/p>\n

1Institut des langues et cultures d’Europe, Am\u00e9rique, Afrique, Asie et Australie<\/p>\n","protected":false},"excerpt":{"rendered":"Appel \u00e0 communication\u00a0: L\u2019ARBRE DANS LES ARTS ET LA LITT\u00c9RATURE. AUTOUR DE LA PHOTOGRAPHIE DE MICHAEL KENNA. Date…\n","protected":false},"author":2,"featured_media":592262,"comment_status":"","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[9566],"tags":[1111,11,2430,1777,674,1011,27,2731,12,25],"class_list":{"0":"post-592261","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-grenoble","8":"tag-actu","9":"tag-actualites","10":"tag-auvergne-rhone-alpes","11":"tag-eu","12":"tag-europe","13":"tag-fr","14":"tag-france","15":"tag-grenoble","16":"tag-news","17":"tag-republique-francaise"},"share_on_mastodon":{"url":"https:\/\/pubeurope.com\/@fr\/115699620598845090","error":""},"_links":{"self":[{"href":"https:\/\/www.europesays.com\/fr\/wp-json\/wp\/v2\/posts\/592261","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.europesays.com\/fr\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.europesays.com\/fr\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/fr\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/fr\/wp-json\/wp\/v2\/comments?post=592261"}],"version-history":[{"count":0,"href":"https:\/\/www.europesays.com\/fr\/wp-json\/wp\/v2\/posts\/592261\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/fr\/wp-json\/wp\/v2\/media\/592262"}],"wp:attachment":[{"href":"https:\/\/www.europesays.com\/fr\/wp-json\/wp\/v2\/media?parent=592261"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.europesays.com\/fr\/wp-json\/wp\/v2\/categories?post=592261"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.europesays.com\/fr\/wp-json\/wp\/v2\/tags?post=592261"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}