Refuge du Soreiller et l’Aiguille Dibona - Hiking

Since 1957, hikers and mountaineers have been stopping off at Le Soreiller before tackling the Aiguille de la Dibona. The site is famous for its climbing and variety of routes. Renovated in 2014, the refuge has improved comfort without compromising on conviviality.At the end of your ascent to the refuge, you can relax on the sunny terrace, sipping a juice or a draught beer, and enjoy the exceptional view over the Étages valley. From the refuge, you can access numerous climbing routes. Le Soreiller has a capacity of 70 places, divided into different dormitories. In winter, the refuge has 20 places.

La Dibona Is a huge rock of granite pointing up into the pure Oisans mountain air that attracts mountaineers from all over the world. Climbing on the sound rock of this elegant 300 m pyramidal monolith is varied, subtle and always hugely pleasurable.Climbing the 14 or 15 pitches of these granite slabs is a highlight in the life of any climber. The south face, which is the most attractive and popular, is a fine climb. A combination of routes leads to the summit: the direct south face Voie Madier, the normal south face Voie Boell, the Berthet variant and the Stofer variant. The Voie Madier is now 50 years old and still going strong, having been partially re-equipped (bolts and 2 points per pitch). The top of the crack has been damaged and the 5C has become a quite tricky 6A. A large friend is required. The descent is in 2 or 3 abseils down the Voie Angelo Dibona. First Ascension: South face by A. and J. Boell, A. le Ray in 1935. Map and guide: TOP 25 3436 ET Meije Pelvoux "Oisans nouveau, Oisans sauvage" Livre Ouest, Jean-Michel Cambon Difficulty: D (voie Berthet-Boell), TD (voie Madier) Time required: 6 hours CULTURE: Portrait of Angelo Dibona Angelo Dibona (1879-1956) was one of the finest guides of his generation. He opened major routes on the Meije and in the Dolomites. An exceptional climber and pioneer of modern climbing, he particularly enjoyed tackling extensive faces. In his prime between 1908 and 1914, he could be seen climbing all over the French Alps, from the Dauphiné to Mont Blanc. On 27 June 1913, in winter conditions, he calmly climbed the Pain de Sucre du Soreiller, a needle considered unclimbable, which, after years of debate, became known as the Dibona. At the age of 37, he opened the normal route, before setting off for other Alpine adventures, leaving his name to this iconic Oisans needle.

The artist Floraine Sintès takes altitude in refuge. Learning to read these mountain territories in their diversity, multiplying the glances that one poses there by upsetting the habits, by supplementing the sporting approach by a sensitive approach.Organized by the association l'Envers des pentes, artists created in altitude the time of a break in refuge. Artistic approach: "The work of Floraine Sintès (is) playing with infiltrations, parasitizations and addresses. Her interventions, installations, script-objects or protocols work (with) their speci-fic contexts of diffusion, at the margins of exhibitions. Her works are as many indices and proofs of occupations, uses and functions of spaces, passages of moral and physical persons who hold, maintain and support or cross the structures of diffusion. She operates by parasitizing standardized formats, reusing, re-addressing in mirror, displacing, re-mounting existing languages and protocols. Each work plays with characters, with roles and functions, real or fictitious, "false friends" or real allies belonging to a (potential) scenario. His ambiguous objects question how to address, create zones of contact, linkage, attachment outside of cosmetic relationships, as well as the violence of compensation systems while playing with impostures. Note of intent for the residency: "Floraine Sintès wishes to invest this time of residency at the Parc Naturel des Écrins to carry out a work of research, writing, and video around the questions of protected space / preserved / to be preserved. She wishes to take an interest in the regulations put in place and adopted around the "national park" charter. She will study what allows and induces this labeling, who defines it, votes for it and delivers it as well as its applications on the ground. Discussions and interviews with the refuge's guardians and visitors will be the basis of the video work, with the charter's missions and protections as the starting point for discussion. What is a preserved space, to be preserved, how and by whom is it selected and delimited? Who are the guarantors, the guardians?