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"ORLAN (born Mireille Suzanne Francette Porte) is a French contemporary artist best known for her work with plastic surgery in the early to mid-1990s. She is known as a pioneer of carnal art, a form of self-portraiture that utilizes body modification to distort one's appearance. She adopted the pseudonym "ORLAN" in 1971. She lives and works in Paris and sits on the board of administrators for the Palais de Tokyo, She was previously a professor at the École nationale supérieure d'arts de Cergy-Pontoise. Biography =Early works= ORLAN's career as a performance artist began in 1964, when she performed Marches au ralenti (Slow motion walks) in her hometown of Saint- Étienne. During these performances, she would walk as slowly as possible between two central parts of the city. A year later, she produced MesuRages, in which she used her own body as a measuring instrument. With her "ORLAN- body" as the unit of measurement, she evaluated how many people could fit within a given architectural space. This was the first time she utilized her Trousseau, a set of household goods and other items traditionally provided to a young woman by her family upon her marriage, in a performance piece. Her Trousseau was re-purposed in a number of subsequent projects. Between 1964 and 1966, she produced Vintages, a series of black and white photographic works. She destroyed the original negatives of these pieces, and today only one copy of each photograph remains. In this series, she posed naked in various yoga- like positions. One of the most famous pictures of this series is ORLAN accouche d'elle m'aime. She produced a body of work entitled Tableaux Vivants between 1967 and 1975, which she based on the works of prominent Baroque artists like El Greco and Gericault. In reference to Baroque art, she used inmates as models, wore exaggerated faux-Baroque costumes, and drew inspiration from Caravaggesque stereotypes. In 1971, she "baptized herself" Sainte-ORLAN, adorning herself with billowing black vinyl and white leatherette. Color photographs of Saint ORLAN were later incorporated into photo-collages, videos, and films tracing a fictive hagiography. Like her Tableaux Vivants, much of her work involving Saint ORLAN was directly inspired by Baroque art. During the 1977 FIAC International Contemporary Art Fair in Paris, ORLAN executed controversial performance piece The Artist's Kiss (Le baiser de l'artiste). Outside the Grand Palais, a life-size photo of her torso was turned into a slot machine. Spectators could see the coin they inserted into the torso descend down into a groin before being awarded a kiss from the artist. The following year, she created Documentary Study: The Head of Medusa, in which the artist displayed her sexual organs during menstruation under a magnifying glass. The installation was organized in Aachen, Germany on occasion of an International Symposium of Performance Art at the Ludwig Forum for International art. The piece's title was derived from the statement by Sigmund Freud that "at the sight of the vulva, even the devil runs away," which he articulated in his short, posthumously-published essay entitled "Medusa's Head." In 1978, she founded the International Symposium of Performance in Lyon. In 1982, she collaborated with artist Frédéric Develay to create the first online magazine of contemporary art, Art-Accès-Revue, on France's precursor to the Internet, the Minitel. =The Reincarnation of Saint-ORLAN= The Reincarnation of Sainte-ORLAN, a new project that started in 1990, involves a series of plastic surgeries through which the artist transformed herself into elements from famous paintings and sculptures of women. As a part of her "Carnal Art" manifesto, these works were filmed and broadcast in institutions throughout the world, such as the Centre Georges Pompidou in Paris and the Sandra Gehring Gallery in New York.Orlan 'Manifesto of Carnal Art/L'Art Charnel and Refiguration/Self-Hybridation series and other works' vol.12 July 2003 n.paradoxa: international feminist art journal pp.44-48 ORLAN's goal in these surgeries is to acquire the ideal of female beauty as depicted by male artists. When the surgeries are complete, she will have the chin of Botticelli's Venus, the nose of Jean-Léon Gérôme's Psyche, the lips of François Boucher's Europa, the eyes of Diana (as depicted in a 16th-century French School of Fontainebleau painting), and the forehead of Leonardo da Vinci's Mona Lisa. ORLAN picked these characters, "not for the canons of beauty they represent... but rather on account of the stories associated with them." ORLAN chose Diana, because she is inferior to the gods and men, but is leader of the goddesses and women; Mona Lisa, because of the standard of beauty, or anti-beauty, that she represents; Psyche, because of the fragility and vulnerability within her soul; Venus, for carnal beauty; and Europa, for her adventurous outlook on the future. Instead of condemning cosmetic surgery, ORLAN embraces it; "ORLAN's work symbolically marks the passage between the seventies and the cyberfeminist nineties, fully embracing the possibilities opened by advanced technologies." instead of rejecting the masculine, she incorporates it; and instead of limiting her identity, she defines it as "nomadic, mutant, shifting, differing." ORLAN has stated, "my work is a struggle against the innate, the inexorable, the programmed, Nature, DNA (which is our direct rival as far as artists of representation are concerned), and God!". "I can observe my own body cut open, without suffering!... I see myself all the way down to my entrails; a new mirror stage... I can see to the heart of my lover; his splendid design has nothing to do with sickly sentimentalities... Darling, I love your spleen; I love your liver; I adore your pancreas, and the line of your femur excites me." (from Carnal Art manifesto) "Sainte ORLAN" came from a character that I created for "Le baiser de l'artiste" from a text called "Facing a society of mothers and merchants." The first line of this text was: "At the bottom of the cross were two women, Maria and Maria Magdalena." These are two inevitable stereotypes of women that are hard to avoid: the mother and the prostitute. In "Le baiser de l'artiste" there were two faces. One was Saint ORLAN, a cutout picture of me dressed as Madonna glued onto wood. One could buy a five francs church candle and I was sitting on the other side behind the mock-up of the vending machine. One could buy a French kiss from me for the same amount of money one could buy a candle. The idea was to play on the ambivalence of the woman figure and the desire of both men and women towards those biblical and social stereotypes. Being showcased in the Paris International Contemporary Art Fair, the artwork was somehow both an installation and a performance," said ORLAN, in her interview with Acne Paper. Recent works Since 1998, ORLAN has been creating a digital photographic series titled "Self-Hybridizations," where her face merges with past facial representations (masks, sculptures, paintings) of non-western civilizations. So far, three have been completed: Pre-Columbian, Native American and African. In 2001, she orchestrated a series of filmic posters, "Le Plan du Film," with various artists and writers. The posters affirm the existence of films which do not actually exist. The posters question the notions of character and narrative reflected in the social reality of individual roles and stories. In 2007, ORLAN collaborated with the Symbiotica laboratory in Australia, resulting in the bio-art installation "The Harlequin's Coat." Part of her on-going work includes "Suture/Hybridize/Recycle," a generative and collaborative series of clothing made from Orlan's wardrobe and focusing on suture: the deconstruction of past clothing reconstructed into new clothing that highlights the sutures. References External links *Orlan Official Website *Retrospective Exhibition from 05/25/07 to 09/16/07 at the Musée d'art moderne de Saint- Etienne *Pompidou Centre, exhibition: elles@centrepompidou 2010. *Video: interview with ORLAN, registration of a MesuRage, and short overview of her work at M HKA, Antwerp Category:1947 births Category:Living people Category:People from Saint-Étienne Category:French mixed-media artists Category:New media artists Category:BioArtists Category:Body art Category:French contemporary artists Category:20th-century French women artists Category:People known for their body modification "
"The East India Stock Dividend Redemption Act 1873 was of an Act of the Parliament of the United Kingdom, passed in 1873, that formally dissolved the British East India Company. It was one of the East India Loans Acts 1859 to 1893.The Short Titles Act 1896, section 2(1) and Schedule 2 By the time of the Act's passing, the company had already effectively ceased to exist, with its governmental responsibilities having been transferred to the Crown by the Government of India Act 1858. The company's 24,000-man military force had also been transferred to the authority of the Crown (subsequently being incorporated into the Indian Army), leaving it with only a shadow of the power it had wielded years earlier. References Category:Acts of the Parliament of the United Kingdom concerning India Category:Dividends Category:Legislation in British India Category:British East India Company Category:United Kingdom Acts of Parliament 1873 "
"Lopud () is a small island off the coast of Dalmatia, southern Croatia. Lopud is economically the most developed of the Elaphiti Islands, and can be reached by boat from Dubrovnik, Trsteno, Orašac and Zaton. The island is famous for its sandy beaches,Frommer's Croatia by Karen Torme Olson & Sanja Bazulic Olson in particular the bay of Šunj. Lopud is the second largest island of the Elaphiti islands, between Koločep and Šipan. It is famous as the "island in the middle" (Insula Media, or Mezzo). It has an area of and its highest point is Polačica, above sea level. It has of coastline, of which is sandy. History The central island known as Elaphite (Deer) archipelago 7Nm away from Dubrovnik and with an area of 4.6 square km was a frequent station of ancient Greeks and later Romans. There are no substantial proof, but the Greek name Delaphodia for present Lopud as well as Igalo for the waterfront (promenade) confirm the early presence of Greeks on the island. In the 9th century the island was inhabited by Croats, a fact supported by four old Croatian churches and a bulk of archeological finds. Very early (prior to 10th century) it becomes part of Commune of Dubrovnik and immediately upon the establishment of the Republic of Dubrovnik it makes part of it. Due to its central location Lopud gets the name of Isola di Mezzo. The 15th and 16th centuries were the Golden Age for the island. Thanks to the prospering shipping industry and sea trade (even with Americas) as well as shipbuilding and agriculture the island was a highly cultured one. The well-educated monks of the Franciscans (1483) and Dominican (1482) monasteries made way for literacy on the island. In addition to elementary school the Dominican had the first three grades of high school in their curriculum. It is generally considered that the island's seamen receive the basic knowledge in navigation they were to use during their successful voyages. Places and mansions were erected. The names of Lopud streets, as well as its many houses and over thirty churches and chapels tell stories of town of Lopud. The Dubrovnik Republic was reinforced by the island's eighty ship merchant fleet both in war and in peace. Writers and poets alike were so impressed with Lopud at that period that they presented it as a city with population of 14 thousand. The history of Lopud regrettably has not been explored thoroughly. However, judging by currently available documents the island at its peak had around 2 thousands inhabitants. For comparison, in 2010 only 200 people inhabit the island. From the 17th century on, its economic power began to decline along with its population. In the last three centuries the island's population fluctuated between 600 and 350. In 1990's 284 people lived on the island. Conquest of Napoleon in 1808 brought end to monasteries' activities. During the Astro-Hungarian rule, Lopud people subsisted on fishery, agriculture, sailing on merchant ships and working abroad, particularly in USA. In addition to the basic local occupations, the 19th and the beginning of the 20th centuries introduced waving production. with over 50 looms, Lopud turns into an industry center for the area. This trade represents emancipation of Lopud women too. The whole area today covered with vegetation, only 80 years ago was cultivated and covered by olive-groves (19 olive mills). From 1927-1990 tourism made its mark and the island's population enjoyed a safe and stable period. After WWII all private owned hotels were confiscated and become state property. In the last few years, hotel's buildings of "Hoteli Lopud" enterprise has taken on 90 permanent employees and during summer seasons hire more. The raised standard of living saw construction of newly built stone houses and flats in Dubrovnik. During the aggression against the Republic of Croatia from 1991-1995 business was operated in war conditions and enterprise going bankrupt as a consequence. The so-called privatization, the sell-off the hotels and real estate, as well as devastation, unemployment and job insecurity led to population decrease and young Lopud people had to look for life opportunities elsewhere. Despite the natural resources and potentiality of comfortable life, since 1992 Lopud has been passing the saddest period in its long history. On 22 July 1813, marines and seamen from and captured the French garrison on the island, which consisted of six guns and 59 men. Gallery File:Harbour Lopud.JPGThe harbour in Lopud File:lopudbeach.jpgLopud beach scene File:Franciscan monastery Lopud.JPGFranciscan monastery File:Hotel Lafodia.JPGHotel Lafodia (opened 1968) File:Plaža Šunj.JPGŠunj Beach File:Crkva sv. Ivana.JPGSt. John's Church on Belvedere File:Na Lopudu građevina.JPGDerelict house File:Crkvica na Lopudu.JPGChapel File:Sutvrač.JPGSpanish fort Sutvrač File:Šume Lopuda.JPGView on Lopud forests from Sutvrač File:Unutrašnjost Sutvrača.JPGInterior of Sutvrač Fort File:Crkva Gospe od Šunja.JPGLady of Šunj Church File:Na lopudskom grobu.JPGTombstone in the chapel beside Lady of Šunj Church File:Lopud otok.JPGLopud landscape File:On Lopud Island.JPGAbove Šunj Beach File:Krajobraz Jelenskog otoka Lopuda.JPGAlong the footpath File:Lopud Island other side.JPGOther side of the island File:Lopudski vidikovac.JPGSmall belvedere File:Na Lopudu kuća.JPGOne of houses in town File:Church on Lopud Island.JPGChurch in town File:Church on Lopud.JPGDoors of church in town File:Lopudski hotel Grand.JPGFormer hotel Grand File:Lopudski park.JPGLopud botanical park File:Prizor iz parka.JPGImage from the park File:Lopud Island coast.JPGTown seafront References External links * "