Documents found
-
104.More information
How does fashion become dynamic in a relationship between artistic creation, arts, crafts and popular culture? Fashion first circulated from the upper echelons of society until the power of the street reversed its trajectory. Steeped in tradition despite its association with novelty, it uses ancestral techniques and periodically reconnects with some silhouettes from the past. Some fashion designers reserve a special place for crafts, especially those that provide an element of the spectacular and add quality to the desired product. In this way, the fashion offered, marketed and worn inevitably integrates elements of the past, constantly reinvented. This cyclical dynamic crosses time and space to result in arrangements where crossbreeding becomes the approach to adopt.
Keywords: mode, femmes, art, artisanat, création, vêtement, fashion, women, art, crafts, creation, clothing
-
106.More information
Since the Paris-Paris exhibition at the Centre Pompidou in Paris (1981), Father Marie-Alain Couturier has been recognized as an important artistic entrepreneur, who invited the most important modern artists to work for the Catholic Church, regardless of their belief or ideology. Father Couturier spent some time in the province of Quebec and deeply influenced its artistic milieu, particularly during his first two stays (28 March-30 May 1940 and 12 December 1940-June 1941). The author deals with the ideas expressed by Couturier in lectures and their consequences.When Charles Maillard, the conformist director of Montreal's Ecole des Beaux-Arts, introduced Father Couturier to the press on 29 March 1940, he specified that Couturier had come to direct studio courses in religious art as applied to church liturgy and not to give lectures. In Father Couturier's view, however, religious art was not distinct from other forms of art. When he addressed the public in his lectures, this passionate modernist's free speech seemed to shake the neo-classical columns of the Ecole des Beaux-Arts and the foundations of Montreal's academic establishment. Father Couturier also sought to put the “revolutionary ideas” he articulated so well in his lectures into practice. With Jean-Marie Gauvreau, he planned the short-lived Religious Art Workshops at the Ecole du Meuble. He also organized the important Exposition d'artisanat religieux (June 1941), where modern Canadian works were shown to the public. In association with the Société d'art contemporain he mounted the celebrated Exposition des Indépendants in Quebec City to advance the cause of “living art” and “freedom in the arts.” He criticized “the sterility of academic solutions” and, implicitly, Charles Maillard.The consequences of Father Couturier's ideas and actions were felt well beyond his brief physical presence in Montreal. The “Maillard affair” and the “Borduas affair” were among these consequences.
-
107.More information
This paper aims to show the importance of the State, and of the ideology which it promotes with regards to women in society, in the definition of the place which women should occupy in national development. A brief description of men-women relation among Malay villagers before the intervention of the State allows us to clearly locate the goals of current policies : to counter the relative autonomy of individuals, and more specifically women, transforming them into « Queens of the House » relying on their husbands for their subsistance and for their integration into society. A critical analysis of a project especially aimed at women shows the ambiguity and the contradictions underlying the discourse of the State, but also that of many international agencies for development.
-
108.
-
109.