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""20 jours de liberte"" est l'histoire vraie d'une jeune Tcheque, Suzanne, qui, pour la premiere fois de sa vie, avant la chute du Mur de Berlin, est venue passer vingt jours en France. Parachutee sur ""une autre planete,"" ces vingt jours furent, pour elle, une totale decouverte du monde: tout ce qui nous paraissait banal lui etait totalement inconnu ! Elle profita, cependant, difficilement de sa liberte ephemere car, etant endoctrinee dans son pays, elle se croyait constamment epiee par la police secrete... Ce recit fut egalement pour Veronique BEAUMONT l'occasion de raconter ses voyages en U.R.S.S. et en Tchecoslovaquie avant la chute du Mur de Berlin. Habituee a vivre dans un pays ou l'on trouve de tout et ou la liberte existe, la vie, dans ces pays totalitaires, s'est averee, pour elle, pleine de pieges et les magasins etaient totalement vides. ""20 jours de liberte"" est un recit edifiant sur le choc de deux cultures radicalement differentes."
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The Uprisings exhibition at La Maison Rouge presents all facets of the work of Jean-Jacques Lebel the artist but also that of Jean-Jacques Lebel the exhibition curator, writer, performer, festival organizer, discoverer, and active smuggler who has been an agitator within French artist circles over the past forty years. More than an exhibition, what we have here is a montrage (a Show/editing), to employ the term invented by the artist himself. Lebel offers us a whole "arranged in terms of the connections or caroms among the works-among their contents, not among their commercial values-and this is done in such a way as to encourage movements of thought in all senses of the term". In other words, this montrage is a unique way of presenting objects that, a priori, have nothing to do with each other, but which "share some common issues and modes of operation that serve to intensify one another". Entitled Uprisings, the exhibition pertains to "a process that is at once artistic, historical, mental, personal, and social-which implies a long process of maturation and multiple encounters, influences, exchanges, and permutations" (JJL). The exhibition is divided into themes. Each corresponds to Jean-Jacques Lebel's obsession with the enigma which a work and the wider context of its emergence raise. Happenings, Insubordination, Poetry, Hallucination, Eros, Dada, War and Rhizome are some examples. Through these interconnecting ensembles, visitors can engage with some of Jean-Jacques Lebel's major installations, works of primitive art, works by anonymous artists and others by such important allies as Johann Heinrich Füssli, Giuseppe Arcimboldo, Louise Michel, Fourier, Ravachol, Guillaume Apollinaire, Marcel Duchamp, Pablo Picasso, Otto Dix, George Grosz, André Breton, Francis Picabia, Antonin Artaud, Victor Brauner, Bernard Heidsieck, Erró, Antonio Saura, Peter Saul, Camilla Adami and Orlan: some three hundred works in all which continue to engross the artist in an earnest and endless dialogue. With the support of le Festival d'Automne a Paris
Holidays are a key to helping us understand the transformation of national, regional, community and ethnic identities. In Celebrating Canada, Matthew Hayday and Raymond Blake situate Canada in an international context as they examine the history and evolution of our national and provincial holidays and annual celebrations. The contributors to this volume examine such holidays as Dominion Day, Victoria Day, Quebec’s Fête Nationale and Canadian Thanksgiving, among many others. They also examine how Canadians celebrate the national days of other countries (like the Fourth of July) and how Dominion Day was observed in the United Kingdom. Drawing heavily on primary source research, and theories of nationalism, identities and invented traditions, the essays in this collection deepen our understanding of how these holidays have influenced the evolution of Canadian identities.