MUSEUM News THE MI’KMAQ OF PRINCE EDWARD ISLAND Gatineau—Prince Edward Island in the Gulf of Saint Lawrence in Eastern Canada has been home to the Mi’kmaq 54 culture for some 12,000 years. The community, whose environment has undergone many changes over the last centuries, still lives there and retains profound respect for its ancestors and their values. Ni’n na L’nu, Les Mi’kmaq de l’île-du-Prince-Edouard (Ni’n na L’nu, The Mi’kmaq of Prince Edward Island), on view until January 18, 2015, at the Musée Canadien de l’Histoire in Gatineau, Quebec, provides an opportunity to explore the history, spirituality, social structures, and material culture of an indigenous population that has remained viscerally attached to both its land and its traditions. Designed to resemble wigwams, the traditional circular Indian dwellings, the museum’s galleries teem with artifacts, video presentations, interactive objects, and audio tracks that provide a total immersion in the Mi’kmaq universe. Left: Installation views atthe Canadian Museum of History. © Stephen DesRoches. Courtesy of the Mi’kmaq Confederacy of Prince Edward Island and of Parcs Canada. Right: André Breton in his office. 1956. © Association Atelier André-Breton. Photo: Sabine Weiss. Below: Kachina figure. © Association Atelier André-Breton and the Musée Cahors Henri-Martin. Photo: B. Krebs. ANDRÉ BRETON: INITIATOR, DISCOVERER Cahors—Breton is one of those omnipresent figures— constantly evoked and perhaps even invoked—whose influence never seems to fade. In partnership with the Atelier André Breton Association, the Musée de Cahors is presenting La maison de verre, André Breton Initiateur, Découvreur (The Glass House, André Breton: Initiator, Discoverer), an immersion into the teeming and multifaceted universe of this writer, visual artist, theoretician, and poet that provides welcome insight into his ideas and their dissemination. Breton spent much of his life in the Lot region, just a few miles from where the exhibition is being held. On view until December 29 and featuring some 300 works by artists including Desnos, Hérold, Miró, Munch, Picasso, Toyen—many of which are seen together here for the first time—the show also addresses the influence of Léona Delcourt, Breton’s muse known as “Nadja.” It further looks at the writer’s various areas of engagement, his relationship to life, his discoveries, and— especially—his collection of art objects, which was closely linked to his own works. A reconstitution of Breton’s Paris office and its famous wall, on which the real and the virtual intermingled, serves as the heart of the display. Below: Anthropomorphized whale mask. Yup’ik, Alaska. Photo: Association Atelier André-Breton. Far right: Victor Brauner (1903–1966), Les 4 éléments. Photo: B. Krebs. Bottom: André Breton with Max Ernst in front of marker no. 1 for the “Route Mondiale,” Cahors, 1954. Photo: Association Atelier André- Breton.
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