The Shared Landscapes map proposes three “disorientations” for perceiving the territory differently and conveying its geomorphological richness.

Disorientation no. 1

: Another catchment area

The map highlights the Rhone-Rhine watershed and the Rhine catchment. The starting point of the show takes place precisely on this divide between the two basins. As you enter the forest and the clearing, you leave the territory of Lausanne’s water – which flows through Lake Geneva and the Rhone, ending up in the Mediter- ranean Sea – and enter the territory of the water that flows through The Three-Lakes, the Aare and the Rhine towards the North Sea.

Disorientation no. 2

: A clearing as ‘full’ rather than ‘empty’

On official maps, as in our collective imagination, the forest resembles a dense mass and the clearing is the void that punctuates it. Here, however, it is the clearing that appears full of life and movement. The Mauvernay plain is a watery area located in the Jorat forest massif. It absorbs abundant rainfall which it releases in the form of countless springs and streams, as well as more than fifty wetlands offering favourable conditions for biodiversity.

Disorientation no. 3

: Anthropised nature

On the map, water, vegetation, human-made paths and the pieces of Shared Landscapes exist in dialogue. Behind an impression of nature lies a landscape shaped by the relationship between humans and the plain. Throughout the plain, hundreds of catchment points redirect the water to supply the surrounding area with drinking water. The area was cleared by the Cistercian monks of Montheron several centuries ago, and today Fabien Hunziker’s agricultural activity helps to maintain its contours. North of the clearing, the former rear area of a shooting range, the «bois ballé», unfit for construction, is now part of the protected area of the Jorat peri-urban Natural Park.

Shared landscapes cartographies:
#1 the Jorat natural park

Exhibition from May 14 to June 18 at the Théâtre de Vidy and every

Sunday at Chalet-à-Gobet during Paysages partagés + Lecture-performance and round table - Wed. May 31, 7pm, Théâtre Vidy Lausanne

A transdisciplinary collaboration that uses cartographic tools to reflect on the issues that underpin the concept of landscape and its appropriation by artists.

By Leila Chakroun, Amaranta Fontcuberta, researchers in environmental humanities, and Darious Ghavami, from the Competence Centre in Sustainability of the University of Lausanne. With the support of the City of Lausanne and the Jorat natural park.

Café des idées @Cloître Saint-Louis

La matinale

8 July at 10:30

With Pauline Bayle, Caroline Barneaud & Stefan Kaegi, Carolina Bianchi, Anne Teresa De Keersmaeker

Animated by Olivia Gesbert

Shared landscapes: creating within
the living

10 July at 5pm (in French)

The concept of “shared landscapes” invites us to think about and question our relationship to real landscapes and to the living. What does it mean to inhabit the earth, not just as a purely human stage, but as a shared landscape? What role does the landscape play in theatre?

With Frédérique Aït Touati researcher and director, Caroline Barneaud and

Stefan Kaegi curators of Paysages partagés, Clara Hédouin director of

Que ma joie demeure, Marina Ezdiari CSR manager at Audiens

Moderated by Christophe Triau of the magazine Alternatives théâtrales

With Alternatives théâtrales and Audiens, with the support of European Union

Taking care of things and landscapes. Preservation, exhibition, performance. Preserved landscapes?

19 July at 11am (in French)

Things and landscapes are two fragile elements, often forgotten and under attack. Artists and researchers discuss how they take into account landscapes and objects in their work, and how doing so has become an urgent need. The discussion will focus on the convergence of struggles, preservation, and exhibitions.

With Caroline Barneaud and Stefan Kaegi curator and curator of Shared Landscapes, Vera Martynov scenographer and artist (ESAA)

Animated by Antoine de Baecque director of SACRe, Barbara Turquier director of SACRe, Morgan Labar director of ESAA / With SACRe - ESAA

Hangelsberg Forest

Only a few train-stops away from Berlin, Hangelsberg is located not far from the border between city and countryside. North of the meandering river Spree and behind the historic railway station, there is a forest area that is shared by foresters, curious school groups and non-human inhabitants alike. This map suggests three re-orientations for this area that may shift our gaze in the Here and Now.

Re-orientation I:

From glaciers to water courses to dried-out trenches

The map shows an area surrounded by lakes and forests, whic belonged to the Berlin-Warsaw Glacial Valley and was create by meltwaters at the end of the last ice age. The past decades however, have left their mark on the landscape: In large parts o Brandenburg, the groundwater level has dropped. The Trebuser Graben (Trebus trench), which used to carry water decades ago has dried up: a consequence of increased water usage and former soil culture schemes like draining wetlands to render surfaces usable for agriculture and forestry.

Re-orientation II:

Stabilising combinations and relicts from former times

Retaining water within the landscape and stabilising forests by means of combining various species of trees is the future task. The area around the forest school is an example of a structured mixed forest that has long been made up of more than just pine trees. Other parts
of the forest, including the area around Stefan Kaegi’s piece, have been ‘disused’ for quite a while: The wood is no longer utilised and nature is left to its own devices. In the area’s immediate vicinity, there are several “Hutewald-Eichen” (oak trees in a pastoral forest), which are more than 300 years old. They are reminiscent of times when there was intensive woodland pasture, and such forests provided food fo livestock like sheep, pigs and cattle.

Re-orientation III:

Resin extraction and other traces

The patterns in pine trunks around the piece by Begüm Erciyas and Daniel Kötter point towards a different kind of woodland utilisation. Extracting tree resin (German: “Harzung”) was mainly a matter of economic necessity, a way to secure self-sufficiency with the hel of replacement resources. Resin extraction was first undertaken during the First World War and continued after the Second World War until 1990, especially in the GDR. These (wo-)man-made traces complement the paths crossing the area. Generations of forester have been active here, working with the forest, developing it in
accordance with nature and preserving it for future generations.

Projects as part of “Tipping Time” –
Climate Conference of Civil Society

May 9th to 11th, 2024, Sonnenpark St. Pölten:

Saturday, May 11th, 11:30 a.m. to 1:00 p.m.: Exploring the Landscape. A walk through Sonnenpark with scientists and artists from the “Performing Landscape” project (in English).
Meeting point: Mobile City Lab.
Admission is free, but the number of participants is limited. Please register at the reception from 10:00 a.m.

With Leila Chakroun, Amaranta Fontcuberta, Karin Harrasser, Emanuele Regi, Joana Braga, Maja Simoneti, María Auxiliadora Gálvez, Caroline Barneaud, and Stefan Kaegi.

Saturday, May 11th, 2:00 – 3:30 p.m.:
Winds of Change: Climate Policy Turbulence. Lecture by Karin Harrasser (cultural scientist) followed by a discussion with Caroline Barneaud and Stefan Kaegi at the Mobile City Lab.

Koseški boršt is a forest below Rožnik in Ljubljana, stretching between the Rožna dolina and Koseze. Večna pot cut this area off from the rest of the hilltop urban forest and the city park. Together with forest clearings and remnants of the cultural landscape, this gently undulating forest landscape opens out to the west and the city outskirts, but it is also part of the central urban park area, which is directly connected to the very centre of the national capital.

After the war, the authorities built the Pioneer Railway and the Biotechnical Faculty in Koseški boršt, and today the forest, together with the Path of Remembrance and Comradeship, is a popular promenade for city dwellers to catch the last rays of the afternoon sun.

Koseški boršt is an integral part of the urban forest in the Tivoli, Rožnik and Šiška Hill Landscape Park, as well as a part of the city’s cultural landscape that extends like a green wedge from the hinterland to the centre of Ljubljana. From the city centre at the Tromostovje Bridge, it is a good three kilometres air distance to Koseški boršt, and most of the way leads through the city park and forest area. In its own way, Koseški boršt is also a building block of the city’s identity. Apart from the Ljubljanica River, it is the wooded slopes of the Castle Hill with its castle and the varied forest and parkland of the City Park, which acts as a protected nature and cultural heritage area, that create Ljubljana’s identity to the greatest extent.

The name Koseški boršt is of historical origin. The kosezi (free peasants) appeared during the Alpine Slavic colonisation of the area as individuals with the right to use their land freely, without feudal rights. They were mostly farmers and soldiers, and for a while they even had the right to their own duke. The word “boršt” comes from the German word for forest (der Forst) and indicates that in those times the area was governed by rulers of Austrian origin. Records show that they had a great understanding of the needs of the townspeople.
For a long time Ljubljana had no forests of its own, and the Austrian dukes therefore urged the regional governors to allow the citizens of Ljubljana to transport and collect firewood and wood from the woods and forests around the city, as had always been the custom.

In Koseški boršt, as in all other Slovenian forests, the right of free use of the forest and the right to collect forest fruits have been preserved to this day, while the economic use of timber is the exclusive right of the owners.
In the past, the local authorities had the wisdom to protect the area from construction development and, through consistent spatial planning, to create the basis for the unique structure and appearance of the urban landscape and the central city park, which extends over an area of 459 hectares. As early as the 19th century, the authorities recognised
the great importance of the proximity of the forest for the inhabitants and, in the course
of planning the expansion and development of the city, began to carefully protect the forest area on the Rožnik and Šiška Hill from construction and to preserve it for public use.
In this way, the authorities, together with the property owners, who also opened their gardens for public use, began the development of an outstanding cultural heritage and today’s Tivoli, Rožnik and Šiška Hill Landscape Park. As a result, people, animals and plant seeds are still able to move freely between the city centre and its outskirts, enjoying the free use of open public spaces, the cultural landscape of the hinterland and the high quality of life.

Koseški boršt is a mixed forest, partly flat and wetland, growing on a predominantly siliceous base with acid brown soils. The tree layer is dominated by beech, oak, chestnut, sessile oak, spruce, fir and Scots pine, as well as rowan both as a tree and a shrub.
The shrub layer is characterised by buckthorn and bilberry, and the herb layer is very rich. The area is home to many birds and other animals, including small carnivores, deer,
foxes and badgers.

Ljubljana’s Večna pot road cut through the forest landscape of Koseški boršt a long time ago and, despite the development of activities in the surrounding area, nature has been preserved in a relatively good condition in much of this slightly wet forest area. Over time, new paths and trails have been added to the existing ones, helping to ensure that the area remains largely open to those who wish to connect with nature in the city and to explore the attractions of the urban surroundings, such as the views of the deer grazing in the forest glades and the water and shore area of the Koseški bajer pond.
Koseški boršt is owned by several different private owners, whose exploitation of the forest is guided by the forest management plan and the management of the landscape park. At the same time, the area is also subject to cultural heritage protection regulations. The management of the use and maintenance of the urban forest thus follows both the principles of free use laid down in the Forest Act and the negotiation that takes place between the landowners and the representatives of the various public interests presen in this valuable urban area.

Shared Landscapes takes place in Celrà, specifically at L’Animal
a l’esquena, a space coordinated by artists María Muñoz and Pep Ramis. It is a residence and experimentation center for creative groups and diverse projects. It is set within a private outdoor estate amidst a rich natural mountain environment: Les Gavarres.

Celrà and the Gavarres area are a mix of medieval heritage with castles and towers and natural landscapes between the Ter river and the mountain, with deep industrial roots through their limestone kilns, tile manufacturers, and iron mines. The region is surrounded by gently rolling hills containing metamorphic rocks: slate, schist, and granite. It is an exceptional and unique landscape, a green area for the Gironès region, with countless animal and plant species that enrich the natural heritage of the area and make it an idyllic place with a great variety of landscapes.

This region was declared a Natural Area of Interest in 1992. The highest point above sea level is the Puig de la Gavarra, at 537 meters, but it is generally not an area of steep hills. The landscape is almost entirely covered with forests, with some fields and farmhouses.
The flora of Les Gavarres is varied and rich. Holm oak and cork oak forests predominate, accompanied by pines and oaks in higher areas. Mediterranean shrubs, with species such as heather, strawberry
tree, and mastic, cover the underbrush. Additionally, aromatic plants like rosemary and thyme abound. This vegetation mosaic creates a unique landscape, vital for the conservation of the local biodiversity.

With Maria Auxiliadora Gálvez (Ph.D. in architecture and landscape engineer. Member of the scientific committee of Shared Landscapes), Martí Franch (landscape architect, agricultural technical engineer and col·laborer of the scientific committee of Shared Landscapes, Stefan Kaegi (creator and curator of Shared Landscapes and member of the German company Rimini Protokoll), Caroline Barneaud (creator and curator of Shared Landscapes) and Tanya Beyeler and Pablo Gisbert from El Conde de Torrefiel.

Conference by Maria Auxiliadora Gálvez and round table with the rest of the participants. A talk to understand how we can design our cities and, at the same time, understand the ecological dynamics of landscapes taking into account the practices and bodies that inhabit them. As performing arts and landscape (be it urban or rural) they have points in common and mutual learning.