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[Loi sur les indiens]
2000-3
Glass beads, copy of pages of the "Indian Act", adhesive tape, thread, felt
Pages 1, 2, 3, 16, 17, 42, 43, 44: Loan courtesy of Art Mûr
Pages 30 and 41: The Montreal Museum of Fine Arts, gift of Stéphane Cauchies
P.1: Nadia Myre
P.2: Chantal Léger, Christina Finlayson, Donovan E. Brass, Francis Dupuis-Déri, Helen Beverton, Isabelle Chapman, Jessica Adley, Luci Dillus, Sasha Kleinplatz, Sophie Cabot
P.3: Ashley Kearns, John Davis, Mirna Saffouri
P.16: Cheryl Donison, Jessie Pratt, Lise Bergeron
P.17: Philip Kitt
P.30: Faith La Rocque, Kirsten, Boehm, Michelle Jospe
P.31: Chloé Frommer, Morin Dubois, Randee Frommer
p.32: Dolorès Contré-Migwans, Leigh Morton, Magola Gombos, Mélanie Deveault, Melissa Krencisz, Neil S. Maclummis, Oronitya Gros-Louis, Samantha Combaluzier, Sarah Steeves
P.33: Nadia Myre
P.34: Alexandre DeGroot, Anthony Stille, Camyle Gaudreau, Catherine Bégin, Christine Le ROy, Denis Lessard, Leah Fontaine, Marie-Andrée Crevier, Marie-Josée Lamarre, Maude LeFrançois, Nathalie DeRome, Pascal Poinlane, Paul Arany, Rebecca Hershfield
P.35: Andrea Richter, Carolyn Teow, Catherine, Denise Brend, Lita Fontaine, Matt Byers, Mehdi Medjoloub, Rita Albert, Santina Gatia, Sarah Normand, Saskia, Yang Man
P.36: Duncan Murdoch
P.37: Andrée-Christine Godin, Leanne L'Hirondelle
P.38: Adrianne Cleary, Caroline Goyer, Will Mouatt
P.39: Nadia Myre
P.40: Carley Humphrey, Dessa Harhay, Giancarlo Zerbino, Jennier Pragai, Jennifer Raso, Karen Fleming, Lara Evoy, Lorraine Chick, Magalie Raymond, Maya with Valérie D. Walker, Susana Ponte, Vincent Bonin
P.41: Nadia Myre
P"42: Emilie Caron, Imelda Grégoire, Marthe Gilbert, Mindy Yan Miller
P.43: Amy Drover, Caroline Aubé, Karin Hazé
P.44: Nadia Myre
To see Canada's Indian Act, please click here.
See Title 25 for the American laws relating to Native Americans.
Indian Act to the sounds of Diane Régimbald
Indian Act to the words and sounds of Sivulivinivut
The history of the Austrian Museum of Applied Arts/Contemporary Art
1863 / After many years of efforts by Rudolf Eitelberger decides Emperor Franz Joseph I on 7 March on the initiative of his uncle Archduke Rainer, following the model of the in 1852 founded South Kensington Museum (now the Victoria and Albert Museum, London), the establishment of the "k. k. Austrian Museum for Art and Industry" and apponted Rudolf von Eitelberger, the first professor of art history at the University of Vienna, to director. The museum should be serving as a specimen collection for artists, industrialists, and public and as a training and education center for designers and craftsmen.
1864/ on 12th of May, opened the museum - provisionally in premises of the ball house next to the Vienna Hofburg, the architect Heinrich von Ferstel for museum purposes had adapted. First exhibited objects are loans and donations from the imperial collections, monasteries, private property and from the kk polytechnic in Vienna. Reproductions, masters and plaster casts are standing value-neutral next originals.
1865-1897 / The Museum of Art and Industry publishes the journal Communications of Imperial (k. k.) Austrian Museum for Art and Industry .
1866 / Due to the lack of space in the ballroom setting up of an own museum building is accelerated. A first project of Rudolf von Eitelberger and Heinrich von Ferstel provides the integration of the museum in the project of imperial museums in front of the Hofburg Imperial Forum. Only after the failure of this project, the site of the former Exerzierfelds (parade ground) of the defense barracks before Stubentor the museum here is assigned, next to the newly created city park on the still being under development Rind Road.
1867 / Theoretical and practical training are combined with the establishment of the School of Applied Arts. This will initially be housed in the old gun factory, Währinger Straße 11-13/Schwarzspanierstrasse 17, Vienna 9.
1868 / With the construction of the building at Stubenring is started as soon as it is approved by Emperor Franz Joseph I. the second draft of Heinrich Ferstel.
1871 / The opening of the building at Stubering takes place after three years of construction, 15 November. Designed according to plans by Heinrich von Ferstel in the Renaissance style, it is the first built museum building on the ring. Objects from now on could be placed permanently and arranged according to main materials. / / The Arts School moves into the house on Stubenring. / / Opening of Austrian art and crafts exhibition.
1873 / Vienna World Exhibition. / / The Museum of Art and Industry and the Vienna School of Arts and Crafts are exhibiting together at Stubenring. / / Rudolf von Eitelberger organizes in the framework of the World Exhibition the worldwide first international art scientific congress in Vienna, thus emphasizing the orientation of the Museum on teaching and research. / / During the World Exhibition major purchases for the museum of funds of the Ministry are made, eg 60 pages of Indo-Persian Journal Mughal manuscript Hamzanama.
1877 / decision on the establishment of taxes for the award of Hoftiteln (court titels). With the collected amounts the local art industry can be promoted. / / The new building of the School of Applied Arts, adjoining the museum, Stubenring 3 , also designed by Heinrich von Ferstel, is opened.
1878 / participation of the Museum of Art and Industry and the School of Art at the Paris World Exhibition.
1884 / founding of the Vienna Arts and Crafts Association with seat in the museum. Many well-known companies and workshops (led by J. & L. Lobmeyr), personalities and professors of the arts and crafts school join the Arts and Crafts Association. Undertaking of this association is to further develop all creative and executive powers the arts and crafts since the 1860s has obtained. For this reason are organized various times changing, open to the public exhibitions at the Imperial Austrian Museum for Art and Industry. The exhibits can also be purchased. These new, generously carried out exhibitions give the club the necessary national and international resonance.
1885 / After the death of Rudolf von Eitelberger is Jacob von Falke, his longtime deputy, appointed manager. Falke plans all collection areas als well as publications to develop newly and systematically. With his popular publications he influences significantly the interior design style of the historicism in Vienna.
1888 / The Empress Maria Theresa exhibition revives the contemporary discussion with the high baroque in the history of art and in applied arts in particular.
1895 / end of the Directorate of Jacob von Falke. Bruno Bucher, longtime curator of the Museum of metal, ceramic and glass, and since 1885 deputy director, is appointed director.
1896 / The Vienna Congress exhibition launches the confrontation with the Empire and Biedermeier style, the sources of inspiration of Viennese Modernism .
1897 / end of the Directorate of Bruno Bucher. Arthur von Scala, Director of the Imperial Oriental Museum in Vienna since its founding in 1875 (renamed Imperial Austrian Trade Museum 1887), takes over the management of the Museum of Art and Industry. / / Scala wins Otto Wagner, Felician of Myrbach, Koloman Moser, Josef Hoffmann and Alfred Roller to work at the museum and school of applied arts. / / The style of the Secession is crucial for the Arts and Crafts School. Scala propagated the example of the Arts and Crafts Movement and makes appropriate acquisitions for the museum's collection.
1898 / Due to differences between Scala and the Arts and Crafts Association, which sees its influence on the Museum wane, Archduke Rainer puts down his function as protector. / / New statutes are written.
1898-1921 / The Museum magazine art and crafts replaces the Mittheilungen (Communications) and soon gaines international reputation.
1900 / The administration of Museum and Arts and Crafts School is disconnected.
1904 / The Exhibition of Old Vienna porcelain, the to this day most comprehensive presentation on this topic, brings with the by the Museum in 1867 definitely taken over estate of the " k. k. Aerarial Porcelain Manufactory" (Vienna Porcelain Manufactory) important pieces of collectors from all parts of the Habsburg monarchy together.
1907 / The Museum of Art and Industry takes over the majority of the inventories of the Imperial Austrian Trade Museum, including the by Arthur von Scala founded Asia collection and the extensive East Asian collection of Heinrich von Siebold .
1908 / Integration of the Museum of Art and Industry in the Imperial and Royal Ministry of Public Works.
1909 / separation of Museum and Arts and Crafts School, the latter remains subordinated to the Ministry of Culture and Education. / / After three years of construction, the according to plans of Ludwig Baumann extension building of the museum (now Weiskirchnerstraße 3, Wien 1) is opened. The museum receives thereby rooms for special and permanent exhibitions. / / Arthur von Scala retires, Eduard Leisching follows him as director. / / Revision of the statutes.
1909 / Archduke Carl exhibition. For the centenary of the Battle of Aspern. / / The Biedermeier style is discussed in exhibitions and art and crafts.
1914 / Exhibition of works by the Austrian art industry from 1850 to 1914, a competitive exhibition that highlights, among other things, the role model of the museum of arts and crafts in the fifty years of its existence.
1919 / After the founding of the First Republic it comes to assignments of former imperial possession to the museum, for example, of oriental carpets that are shown in an exhibition in 1920. The Museum now has one of the finest collections of oriental carpets worldwide .
1920 / As part of the reform of museums of the First Republic, the collection areas are delineated. The Antiquities Collection of the Museum of Art and Industry is given away to the Museum of Art History.
1922 / The exhibition of glasses of classicism, the Empire and Biedermeier time offers with precious objects from the museum and private collections an overview of the art of glassmaking from the former Austro-Hungarian Empire. / / Biedermeier glass serves as a model for contemporary glass production and designs, such as Josef Hoffmann.
1922 / affiliation of the museal inventory of the royal table and silver collection to the museum. Until the institutional separation the former imperial household and table decoration is co-managed by the Museum of Art and Industry and is inventoried for the first time by Richard Ernst.
1925 / After the end of the Directorate of Eduard Leisching Hermann Trenkwald is appointed director.
1926 / The exhibition Gothic in Austria gives a first comprehensive overview of the Austrian panel painting and of arts and crafts of the 12th to 16th Century.
1927 / August Schestag succeeds Hermann Trenkwald as director .
1930 / The Werkbund (artists' organization) Exhibition Vienna, A first comprehensive presentation of the Austrian Werkbund, takes place on the occasion of the meeting of the Deutscher Werkbund in Austria, it is organized by Josef Hoffmann in collaboration with Oskar Strnad, Josef Frank, Ernst Lichtblau and Clemens Holzmeister.
1931 / August Schestag finishes his Directorate .
1932 / Richard Ernst is the new director .
1936 and 1940 / In exchange with the Kunsthistorisches Museum (Museum of Art History), the museum at Stubenring gives away part of the sculptures and takes over craft inventories of the collection Albert Figdor and the Kunsthistorisches Museum.
1937 / The Collection of the Museum of Art and Industry is re-established by Richard Ernst according to periods. / / Oskar Kokoschka exhibition on the 50th birthday of the artist.
1938 / After the "Anschluss" of Austria by Nazi Germany, the museum was renamed "National Museum of Decorative Arts in Vienna".
1939-1945 / The museums are taking over numerous confiscated private collections. The collection of the "State Museum of Applied Arts in Vienna" is also enlarged in this way.
1945 / Partial destruction of the museum building by impact of war. / / War losses on collection objects, even in the places of rescue of objects.
1946 / The return of the outsourced objects of art begins. A portion of the during the Nazi time expropriated objects is returned in the following years.
1947 / The "State Museum of Applied Arts in Vienna" is renamed "Austrian Museum of Applied Arts".
1948 / The "Cathedral and Metropolitan Church of St. Stephen" organizes the exhibition The St. Stephen's Cathedral in the Museum of Applied Arts. History, monuments, reconstruction.
1949 / The Museum is reopened after repair of the war damages.
1950 / As last exhibition under director Richard Ernst takes place Great art from Austria's monasteries (Middle Ages).
1951 / Ignaz Schlosser is appointed manager.
1952 / The exhibition Social home decor, designed by Franz Schuster, makes the development of social housing in Vienna again the topic of the Museum of Applied Arts.
1955 / The comprehensive archive of the Wiener Werkstätte (workshop) is acquired.
1955-1985 / The Museum publishes the periodical ancient and modern art .
1956 / Exhibition New Form from Denmark, modern design from Scandinavia becomes topic of the museum and model.
1957 / On the occasion of the exhibition Venini Murano glass, the first presentation of Venini glass in Austria, there are significant purchases and donations for the collection of glass.
1958 / End of the Directorate Ignaz Schlosser
1959 / Viktor Griesmaier is appointed as the new director.
1960 / Exhibition Artistic creation and mass production of Gustavsberg, Sweden. Role model of Swedish design for the Austrian art and crafts.
1963 / For the first time in Europe, in the context of a comprehensive exhibition art treasures from Iran are shown.
1964 / The exhibition Vienna 1900 presents Crafts of Art Nouveau for the first time after the Second World War. / / It is started with the systematic processing of the archive of the Wiener Werkstätte. / / On the occasion of the founding anniversary grantes the exhibition 100 years Austrian Museum of Applied Arts using examples of historicism insights into the collection.
1965 / The Geymüllerschlössel is as a branch of the Museum angegliedert (annexed). Gleichzeitig (at the same time) with the building came the important collection of Franz Sobek - old Viennese clocks, emerged between 1760 and the second half of the 19th Century - and furniture from the years 1800 to 1840 in the possession of the MAK.
1966 / In the exhibition Selection 66 selected items of modern Austrian interior designers (male and female ones) are merged.
1967 / The Exhibition The Wiener Werkstätte. Modern Arts and Crafts from 1903 to 1932 is founding the boom that continues to today of Austria's most important design project in the 20th Century.
1968 / On Viktor Griesmaier follows Wilhelm Mrazek as director.
1969 / The exhibition Sitting 69 shows on the international modernism oriented positions of Austrian designers, inter alia by Hans Hollein.
1974 / For the first time outside of China Archaeological Finds of the People's Republic of China are shown in a traveling exhibition in the so-called Western world.
1979 / Gerhart Egger is appointed director .
1980 / The exhibition New Living. Viennese interior design 1918-1938 provides the first comprehensive presentation of the art space in Vienna during the interwar period.
1981 / Herbert Fux follows Gerhart Egger as Director.
1984 / Ludwig Neustift is appointed interim director. / / Exhibition Achille Castiglioni: Designer. First exhibition of the Italian designer in Austria
1986 / Peter NOEVER is appointed as Director and started building up the collection of contemporary art.
1987 / Josef Hoffmann. Ornament between hope and crime is the first comprehensive exhibition on the work of the architect and designer.
1989-1993 / General renovation of thee old buildings and construction of a two-storey underground storeroom and a connecting tract. A generous deposit for collection and additional exhibit spaces arise.
1989 / Exhibition Carlo Scarpa. The other city, the first comprehensive exhibition on the work of the architect outside Italy.
1990 / exhibition Hidden impressions. Japonisme in Vienna 1870-1930, first exhibition on the theme of the Japanese influence on the Viennese Modernism.
1991 / exhibition Donald Judd Architecture, first major presentation of the artist in Austria.
1992 / Magdalena Jetelová domestication of a pyramid (installation in the MAK portico).
1993 / The permanent collection is re-established, interventions of internationally recognized artists (Barbara Bloom, Eichinger oder Knechtl, Günther Förg, GANGART, Franz Graf, Jenny Holzer, Donald Judd, Peter Noever, Manfred Wakolbinger and Heimo Zobernig) update the prospects, in the sense of "Tradition and Experiment". The halls on Stubenring accommodate furthermore the study collection and the temporary exhibitions of contemporary artists reserved gallery. The building in the Weiskirchnerstraße is dedicated to changing exhibitions. / / The opening exhibition Vito Acconci. The City Inside Us shows a room installation by New York artist.
1994 / The Gefechtsturm (defence tower) Arenbergpark becomes branch of the MAK. / / Start of the cooperation MAK/MUAR - Schusev State Museum of Architecture Moscow. / / Ilya Kabakov: The Red Wagon (installation on the MAK terrace plateau).
1995 / The MAK founds the branch of MAK Center for Art and Architecture in Los Angeles, in the Schindler House and at the Mackey Apartments, MAK Artists and Architects-in-Residence Program starts in October 1995. / / Exhibition Sergei Bugaev Africa : Krimania.
1996 / For the exhibition Philip Johnson: Turning Point designs the American doyen of architectural designing the sculpture "Viennese Trio", which is located since 1998 at the Franz-Josefs-Kai/Schottenring.
1998 / The for the exhibition James Turrell. The other Horizon designed Skyspace today stands in the garden of MAK Expositur Geymüllerschlössel. / / Overcoming the utility. Dagobert Peche and the Wiener Werkstätte, the first comprehensive Personale of the work of the designer of Wiener Werkstätte after the Second World War.
1999 / Due to the Restitution Act and the Provenance Research from now on numerous during the Nazi time confiscated objects are returned .
2000 / Outsourcing the federal museums, transforming the museum into a "scientific institution under public law". / / The exhibition of art and industry. The beginnings of the Austrian Museum of Applied Arts in Vienna are dealing with the founding history of the house and the collection.
2001 / As part of the exhibition Franz West: No Mercy, for which the sculptor and installation artist developed his hitherto most extensive work the "Four lemurs heads " are placed at the Stubenbrücke located next to the MAK. / / Dennis Hopper: A System of Moments.
2001-2002 / The CAT Project - Contemporary Art Tower after New York, Los Angeles, Moscow and Berlin in Vienna is presented.
2002 / Exhibition Nodes. symmetrical-asymmetrical. The historic Oriental Carpets of the MAK presents the extensive rug collection.
2003 / Exhibition Zaha Hadid. Architecture. / / For the anniversary of the artist workshop, the exhibition The Price of Beauty. 100 years Wiener Werkstätte takes place. / / Richard Artschwager: The Hydraulic Door Check. Sculpture, painting, drawing.
2004 / James Turrell MAKlite is since November 2004 permanently on the facade of the building installed. / / Exhibition Peter Eisenmann. Barefoot on White-Hot Walls, large-scaled architectural installation on the work of the influential American architect and theorist.
2005 / Atelier Van Lieshout: The Disziplinatornbsp / / The exhibition Ukiyo-e Reloaded for the first time presents the collection of Japanese woodblock prints of the MAK in large scale.
2006 / Since the beginning of the year the birthplace of Josef Hoffmann in Brtnice of the Moravian Gallery in Brno and the MAK Vienna as a joint branch is run and presents special exhibitions annually. / / The exhibition The Price of Beauty. The Wiener Werkstätte and the Stoclet House brings the objects of the Wiener Werkstätte to Brussels. / / Exhibition Jenny Holzer: XX.
2007/2008 / Exhibition Coop Himmelb(l)au. Beyond the Blue, is the hitherto largest and most comprehensive museal presentation of the global team of architects .
2008 / The 1936 according to plans of Rudolph M. Schindler built Fitzpatrick-Leland House, a generous gift from Russ Leland to the MAK Center LA, becomes using a promotion that granted the Bureau of Educational and Cultural Affairs of the U.S. Department the MAK Center, the center of the MAK UFI project - MAK Urban Future Initiative. / / Julian Opie: Recent Works / / The exhibition Recollecting. Looting and Restitution examines the status of efforts to restitute expropriated objects from Jewish property of museums in Vienna.
2009 / The permanent exhibition Josef Hoffmann: Inspiration is in the Josef Hoffmann Museum, Brtnice opened. / / Exhibition Anish Kapoor. Shooting into the Corner / / The museum sees itself as a promoter of Cultural Interchange and discusses in the exhibition Global:lab Art as a message. Asia and Europe 1500-1700 the intercultural as well as the intercontinental cultural exchange based on objects from the MAK and from international collections.
2011 / After Peter Noevers resignation Martina Kandeler-Fritsch takes over temporarily the management. / / Since 1 September Christoph Thun-Hohenstein is director of the MAK.
[Loi sur les indiens]
2000-3
Glass beads, copy of pages of the "Indian Act", adhesive tape, thread, felt
Pages 1, 2, 3, 16, 17, 42, 43, 44: Loan courtesy of Art Mûr
Pages 30 and 41: The Montreal Museum of Fine Arts, gift of Stéphane Cauchies
P.1: Nadia Myre
P.2: Chantal Léger, Christina Finlayson, Donovan E. Brass, Francis Dupuis-Déri, Helen Beverton, Isabelle Chapman, Jessica Adley, Luci Dillus, Sasha Kleinplatz, Sophie Cabot
P.3: Ashley Kearns, John Davis, Mirna Saffouri
P.16: Cheryl Donison, Jessie Pratt, Lise Bergeron
P.17: Philip Kitt
P.30: Faith La Rocque, Kirsten, Boehm, Michelle Jospe
P.31: Chloé Frommer, Morin Dubois, Randee Frommer
p.32: Dolorès Contré-Migwans, Leigh Morton, Magola Gombos, Mélanie Deveault, Melissa Krencisz, Neil S. Maclummis, Oronitya Gros-Louis, Samantha Combaluzier, Sarah Steeves
P.33: Nadia Myre
P.34: Alexandre DeGroot, Anthony Stille, Camyle Gaudreau, Catherine Bégin, Christine Le ROy, Denis Lessard, Leah Fontaine, Marie-Andrée Crevier, Marie-Josée Lamarre, Maude LeFrançois, Nathalie DeRome, Pascal Poinlane, Paul Arany, Rebecca Hershfield
P.35: Andrea Richter, Carolyn Teow, Catherine, Denise Brend, Lita Fontaine, Matt Byers, Mehdi Medjoloub, Rita Albert, Santina Gatia, Sarah Normand, Saskia, Yang Man
P.36: Duncan Murdoch
P.37: Andrée-Christine Godin, Leanne L'Hirondelle
P.38: Adrianne Cleary, Caroline Goyer, Will Mouatt
P.39: Nadia Myre
P.40: Carley Humphrey, Dessa Harhay, Giancarlo Zerbino, Jennier Pragai, Jennifer Raso, Karen Fleming, Lara Evoy, Lorraine Chick, Magalie Raymond, Maya with Valérie D. Walker, Susana Ponte, Vincent Bonin
P.41: Nadia Myre
P"42: Emilie Caron, Imelda Grégoire, Marthe Gilbert, Mindy Yan Miller
P.43: Amy Drover, Caroline Aubé, Karin Hazé
P.44: Nadia Myre
To see Canada's Indian Act, please click here.
See Title 25 for the American laws relating to Native Americans.
Indian Act to the sounds of Diane Régimbald
Indian Act to the words and sounds of Sivulivinivut
Italian postcard by ASER (A. Scarmiglia Ed., Roma), no. 304. Photo: Vaselli / Lux Film.
MarÃa Mercader (1918-2011) was a Spanish actress who acted in Spanish and Italian films, largely between 1939 and 1952. She was the second wife of Vittorio De Sica and the mother of Christian and Manuel De Sica.
MarÃa Mercader Forcada was born in Barcelona, Spain, in 1918. Her brother or her cousin (sources conflict) was Ramón Mercader, the murderer of Leon Trotsky in 1940, in Mexico. As a young girl, Mercader already had a minor part in the Spanish silent film La bruja / The Witch (Maximiliano Thous, 1923), but her film career really took off in 1939 when she acted in the Spanish musical Molinos de viento / Windmills (Rosario Pi, 1939). This was followed by her acting in the French crime film L’étrange nuit de Noël / The strange Christmas night (Yvan Noë, 1939), starring Pierre Alcover and Sylvia Bataille. In the same year, she started to act in Italian films, probably first in Il segreto inviolabile / The Unbreakable Secret (1939), shot at the Titanus studios in Rome but directed by her Spanish compatriot Julio (de) Fleischner, and with another compatriot, José Nieto, as the male star of the film. It was the alternate-language version of the Spanish film Su mayor aventura / His greatest adventure (Julio de Fleischner, 1940). This set off a huge string of Italian films during the war years, directed by ‘routiniers’ such as Mario Bonnard (La gerla di papa Martin / Disillusion, 1941; Il re si diverte / The King's Jester, 1941) and Carlo Ludovico Bragaglia (La forza bruta / Brute Force, 1941; Il prigioniero di Santa Cruz / The prisoner of Santa Cruz, 1941; Una famiglia impossibile / An impossible family, 1941; Due cuori di sequestro / Two hearts under seizure, 1941; Se io fossi onesto / If I were really honest, 1942), but also films directed by Giacomo Gentilomo (Brivido / Thrill, 1941) and Luigi Zampa (L’attore scomparso / The Actor Died, 1941). In Il prigioniero di Santa Cruz, Mercader played opposite her compatriot Juan De Landa, who later played Bragana in Luchino Visconti’s Ossessione (1943). With Michel Simon and Rossano Brazzi, the stars of Tosca (Jean Renoir, Carl Koch, 1941), she acted in the Rigoletto adaptation Il re si diverte / The King's Jester (Mario Bonnard, 1941). Her co-actors in those years were generally established actors such as Ruggero Ruggeri and Armando Falconi, but also such young, upcoming stars as Massimo Serato, Roberto Villa and Leonardo Cortese, and female stars such as Vivi Gioi and Doris Duranti. MarÃa Mercader occasionally acted in Spanish films as well.
In 1942, on the set of the comedy Un Garibaldino al Convento / A Garibaldian in the Convent, MarÃa Mercader met the director of the film, Vittorio De Sica. He fell madly in love with her, though De Sica was married to actress Giuditta Rissone. Mercader and De Sica immediately after this production acted together in the comedy Se io fossi onesto / If I were really honest (Carlo Ludovico Bragaglia, 1942). They were paired again in Non sono superstizioso...ma! / I'm not superstitious ... but! (Carlo Ludovico Bragaglia, 1943) and I nostri sogni / Our dreams (Vittorio Cottafavi, 1943). Nevertheless, in those war years Mercader acted in many more films than with De Sica. These included Finalmente soli! / Finally, Alone (Giacomo Gentilomo, 1942) with Enrico Viarisio, Musica proibita / Forbidden Music (Carlo Campogalliani, 1942) with singer Tito Gobbi, Il treno crociato / The Red Cross Train (Carlo Campogalliani, 1943) with Rossano Brazzi, La vita è bella / Life is Beautiful (Carlo Campogalliani, 1943) with singer Alberto Rabagliati and rising star Anna Magnani, and La primadonna (Ivo Perilli, 1943) with Anneliese Uhlig. She was also one of the female all-star cast of Nessuno torna indietro / Responsibility Comes Back (Alessandro Blasetti, 1943), co-starring Elisa Cegani, Valentina Cortese, MarÃa Denis, Doris Duranti and Mariella Lotti. During the German occupation of Rome and the Repubblica sociale di Salò, Mercader didn’t join the fascist industry in Venice, so her film acting stopped.
After the Liberation of Rome, MarÃa Mercader renewed her film acting career and became a leading pair again with Vittorio De Sica in L’ippocampo / The Hippocampus (Gian Paolo Rosmino, 1945). She also had a supporting part in De Sica’s own film La porta del cielo / The Gate of Heaven (Vittorio De Sica, 1945), starring Marina Berti and Massimo Girotti. After Il canto della vita / The Song of Life (Carmine Gallone, 1945), starring Alida Valli, she played a minor part in Natale in campo 119 / Christmas at Camp 119 (Pietro Francisci, 1947). Mercader played Clotilda Serra opposite De Sica and the upcoming actor Giorgio De Lullo in the Edmondo De Amicis adaptation Cuore / Heart and Soul (1948), which De Sica co-directed with Duilio Coletti. After a lead in the period piece Il cavaliere misterioso / The Mysterious Cavalier (Riccardo Freda, 1948), with Vittorio Gassman as Casanova, Mercader stayed away from the screen until 1952, when she was paired with De Sica again in Buongiorno elefante! / Hello Elephant (Gianni Franciolini, 1952), scripted by Suso Cecchi D’Amico and Cesare Zavattini. After that, only incidental performances followed, such as Christian De Sica’s mother in Giovannino (Paolo Nuzzi, 1976). In 1988, she acted in La casa del sorriso / The House of Smiles by Marco Ferreri, which won the Golden Bear in Berlin in 1991. Other cameo appearances Mercader had in Claretta (1984) by Pasquale Squitieri, Il conte Max / Count Max (1991) by Christian De Sica - a remake of his father’s comedy Il signor Max / Mister Max (Mario Camerini, 1937), and Al lupo, al lupo / Wolf! Wolf! (1992) by Carlo Verdone. All in all, she acted in some 40 films between 1923 and 1992. In 1959, Mercader and De Sica married in Mexico, after his divorce from Rissone, but Italian law did not recognise the divorce nor the marriage, so once he obtained French citizenship in 1968, Mercader married De Sica again in Paris. She became the mother of composer Manuel De Sica (1949) and actor and director Christian De Sica (1951). While De Sica died in Neuilly near Paris in 1974, Maria Mercader died in Rome in 2011, at the age of almost 93 years. In 1978, her autobiography 'La mia vita con Vittorio De Sica' (My Life with Vittorio De Sica) appeared, which was also distributed in Spanish (1980) and French (1981).
Sources: Wikipedia (French, Italian, Spanish, German and English) and IMDb.
And, please check out our blog European Film Star Postcards.
[Loi sur les indiens]
2000-3
Glass beads, copy of pages of the "Indian Act", adhesive tape, thread, felt
Pages 1, 2, 3, 16, 17, 42, 43, 44: Loan courtesy of Art Mûr
Pages 30 and 41: The Montreal Museum of Fine Arts, gift of Stéphane Cauchies
P.1: Nadia Myre
P.2: Chantal Léger, Christina Finlayson, Donovan E. Brass, Francis Dupuis-Déri, Helen Beverton, Isabelle Chapman, Jessica Adley, Luci Dillus, Sasha Kleinplatz, Sophie Cabot
P.3: Ashley Kearns, John Davis, Mirna Saffouri
P.16: Cheryl Donison, Jessie Pratt, Lise Bergeron
P.17: Philip Kitt
P.30: Faith La Rocque, Kirsten, Boehm, Michelle Jospe
P.31: Chloé Frommer, Morin Dubois, Randee Frommer
p.32: Dolorès Contré-Migwans, Leigh Morton, Magola Gombos, Mélanie Deveault, Melissa Krencisz, Neil S. Maclummis, Oronitya Gros-Louis, Samantha Combaluzier, Sarah Steeves
P.33: Nadia Myre
P.34: Alexandre DeGroot, Anthony Stille, Camyle Gaudreau, Catherine Bégin, Christine Le ROy, Denis Lessard, Leah Fontaine, Marie-Andrée Crevier, Marie-Josée Lamarre, Maude LeFrançois, Nathalie DeRome, Pascal Poinlane, Paul Arany, Rebecca Hershfield
P.35: Andrea Richter, Carolyn Teow, Catherine, Denise Brend, Lita Fontaine, Matt Byers, Mehdi Medjoloub, Rita Albert, Santina Gatia, Sarah Normand, Saskia, Yang Man
P.36: Duncan Murdoch
P.37: Andrée-Christine Godin, Leanne L'Hirondelle
P.38: Adrianne Cleary, Caroline Goyer, Will Mouatt
P.39: Nadia Myre
P.40: Carley Humphrey, Dessa Harhay, Giancarlo Zerbino, Jennier Pragai, Jennifer Raso, Karen Fleming, Lara Evoy, Lorraine Chick, Magalie Raymond, Maya with Valérie D. Walker, Susana Ponte, Vincent Bonin
P.41: Nadia Myre
P"42: Emilie Caron, Imelda Grégoire, Marthe Gilbert, Mindy Yan Miller
P.43: Amy Drover, Caroline Aubé, Karin Hazé
P.44: Nadia Myre
To see Canada's Indian Act, please click here.
See Title 25 for the American laws relating to Native Americans.
Indian Act to the sounds of Diane Régimbald
Indian Act to the words and sounds of Sivulivinivut
The sun's final act Sunday evening (5-13-2012) as it sets behind the I-24 bridge over the Tennessee River at Calvert City/Gilbertsville, just downstream from the Kentucky Lake Dam at Grand Rivers, Kentucky.
053/366
Act Of Valor
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You can check out the tutorial here:
www.youtube.com/watch?v=INqqu35yJ28
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Inspired by the upcoming movie "Act Of Valor"
I wanted to create something visually striking and also kind of like an ad.
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As soon as I saw the trailer again, I knew what I wanted to do!
-There is a scene with a soldier on an aircraft carrier.
I saw it and was like "THIS!!!"
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Obviously, I don't have Aircraft Carriers just laying around…so I had to think of an idea.
Creating an airplane from a drawing, using clouds and a carrier and blah blah blah, was WAY too much time than I wanted to invest for a Project 366 Photo.
So I improvised.
I loaded up Battlefield 3 and went to Noshahr Canals.
Canals has the best carrier for what I wanted to do.
I then took several screenshots (13 to be exact) of the jet and carrier.
I needed to use Photomerge in Photoshop to get the Panoramic style I needed for the composite.
-This process took me almost 2 hours to complete because of bad Photomerges and having to redo this process over and over
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Once the "background" was finally composited, I needed to get a picture of myself holding a walkie-talkie or…..something.
I looked ALL over the house, for an hour, to find something I could use.
I finally grabbed a hair brush and said, "screw it….I'm using this"
Then I called all of my army friends for some fatigues, but no one was available until tomorrow or this weekend.
So I had to improvise…I grabbed my snowboarding jacket and my BlackRapid Camera straps.
Figured I could at least make it "look" like it was "special" or something….Yea….
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Now that everything was in place, I set up the cam on the tripod, got in front of the green screen and started trying to get my "shot".
It took several tries to get that *one* shot (40 to be exact; I used #38).
Once completed, I went into Photoshop and started my work!
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Once 95% finished in Photoshop, I threw the image into After Effects to put a nice Optical Flares preset on the photo to really give it a *pop*
Then back in to Photoshop for the final touch and then in to Lightroom for the final export!
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Overall, this composite took about 8-10 hours to complete, and that is BEFORE the tutorial was been dubbed.
In the end, it was about 15 hours total, plus render time to complete the *entire* project.
-I am pretty proud of this work.
I did something that I have never seen anyone do before (using multiple photos of IN-GAME footage of a video game to Photomerge for a panoramic composite background shot); Then compositing myself into that Panoramic shot.
I am stoked it came out how it did. I think I *leveled up* on this one!
::
You can check out the tutorial here:
www.youtube.com/watch?v=INqqu35yJ28
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Canon 5DmII
Canon 70-200mm f/2.8 @ 75mm @ f/7.1
ISO 2000
Shutter 1/80
Softbox - Back Left
Softbox - Back Right
Beautybox - Front Left
BF3 Stills:
13 Shots using Fraps
Switching between Grenade & Knife to get a Clean Plate
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Please DO NOT crop, modify, edit or change our images.
All images are property of epiem
©epiem 2012
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epiem
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Control arms poster I designed to highlight the sad fact that 1 person dies every minute from armed violence. Which is why it is important to campaign for a global arms trade treaty (ATT) atthe UN. Lend your support at controlarms.org
File name: 10_03_000241a
Binder label: Meat
Title: Julius Caesar, Act 1st, Sc. 3d. Caesar: Von Cassius has a lean and hungry look, would he were fatter. Brutus: Feed him on Libby, McNeill & Libby's Cooked Corned Beef. Caesar: Ay, do so, good Brutus, let us have only men about us that are fat. [front]
Date issued: 1870 - 1900 (approximate)
Physical description: 1 print : chromolithograph ; 13 x 8 cm.
Genre: Advertising cards
Subject: Adults; Theatrical productions; Meat; Canned foods
Notes: Title from item. Item verso is blank.
Collection: 19th Century American Trade Cards
Location: Print Department
Rights: No known restrictions.
PLUTON - ACT 3
danse-cite.org/en/news/pluton-act-3-trailer-on-line
Troisième chapitre d'une audacieuse série initiée en 2015 par La 2e Porte à Gauche, PLUTON-ACTE 3 perpétue le désir de voir des interprètes matures pris dans l'orbite de jeunes créateurs.
Pour cette nouvelle édition au tour de l'artiste Benoît Lachambre de collaborer avec l'inclassable Dana Michel et à l'inquiétant Peter James de percuter l'univers absurde de Katie Ward.
C’est dans l’intimité du théâtre La Chapelle que ces quatre créateurs se prêteront au jeu de la Traces-Hors-Sentiers proposée par Danse-Cité.
Entre confrontations, interférences et héritages, des générations dialoguent donnant naissance à de florissantes collaborations.
Ensemble, ils perpétuent une chaine de création.
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Direction artistique : Katya Montaignac
1) Chorégraphe : Dana Michel – Interprète : Benoît Lachambre
2) Chorégraphe : Katie Ward – Interprète : Peter James
Consultant sonore pour Dana Michel : David Drury
Conception des éclairages : Karine Gauthier
Direction technique : Caroline Nadeau
Résidence de création : CCOV [Centre de création O Vertigo]