E-Bibliography Exhibitions

Total Page:16

File Type:pdf, Size:1020Kb

E-Bibliography Exhibitions European University Institute, Florence, Italy California State University, Fresno, USA Brandenburgische Technische Universität, Cottbus, Germany International Exhibitions, Expositions Universelles and World’s Fairs, 1851-1951: A Bibliography by Alexander C.T. Geppert, Jean Coffey and Tammy Lau 1. Introduction________________________________________________________ 5 2. Research Aids _____________________________________________________ 7 2.1 Bibliographies ________________________________________________________7 2.2 Review Articles _______________________________________________________8 2.3 Research Aids, Collections, etc. __________________________________________8 2.4 Journals and Newsletters _______________________________________________9 2.5 Internet Resources ____________________________________________________9 3. History and Theory of International Exhibitions: General Works ______________ 12 3.1 Official Exhibition Regulations __________________________________________12 3.2 Exhibition Theory ____________________________________________________12 3.3 Exhibition History ____________________________________________________13 4. Exhibitions before 1851 _____________________________________________ 23 GEPPERT/COFFEY/LAU: International Exhibitions: A Bibliography 2 5. International Exhibitions, 1851-1951 ___________________________________ 24 5.1 Australia ___________________________________________________________24 5.1.0 Australia General_____________________________________________24 5.1.1 International Exhibition, Sydney 1879-1880 ________________________24 5.1.2 International Exhibition, Melbourne 1880-1881 ______________________24 5.1.3 Centennial International Exhibition, Melbourne 1888-1889 _____________24 5.2 Austria_____________________________________________________________24 5.2.0 Austria General ______________________________________________24 5.2.1 Weltausstellung, Vienna 1873 ___________________________________24 5.3 Belgium____________________________________________________________25 5.3.0 Belgium General _____________________________________________25 5.4 Brazil______________________________________________________________25 5.4.1 Exposição Internacional, Rio de Janeiro 1922-1923 __________________25 5.5 Canada ____________________________________________________________25 5.5.0 Canada General _____________________________________________25 5.6 China _____________________________________________________________26 5.6.0 China General _______________________________________________26 5.7 France_____________________________________________________________26 5.7.0 France General ______________________________________________26 5.7.1 Exposition universelle, Paris 1855________________________________28 5.7.2 Exposition universelle, Paris 1867________________________________28 5.7.3 Exposition universelle, Paris 1878________________________________28 5.7.4 Exposition universelle, Paris 1889________________________________29 5.7.5 Exposition universelle, Paris 1900________________________________31 5.7.6 Exposition coloniale, Marseille 1906 ______________________________32 5.7.7 Exposition nationale coloniale, Marseille 1922 ______________________32 5.7.8 Exposition internationale des arts décoratifs et industriels modernes, Paris 1925 __________________________________________________32 5.7.9 Exposition coloniale internationale, Paris 1931 ______________________33 5.7.10 Exposition internationale des arts et techniques dans la vie moderne, Paris 1937 __________________________________________________34 5.7.11 Strasbourg 1941 _____________________________________________36 5.8 Germany___________________________________________________________36 5.8.0 Germany General ____________________________________________36 5.8.1 Gewerbe- und Kunst-Ausstellung zu Düsseldorf 1880 ________________37 5.8.2 Nord-West-Deutsche Gewerbe- und Industrie-Ausstellung, Bremen 1890________________________________________________37 5.8.3 Berliner Gewerbe-Ausstellung, 1896______________________________37 5.8.4 I. Internationale Hygiene-Ausstellung, Dresden 1911 _________________38 5.8.5 GESOLEI Düsseldorf 1926 _____________________________________38 5.8.6 II. Internationale Hygiene-Ausstellung, Dresden 1930 ________________38 5.8.7 Reichsausstellung Schaffendes Volk, Düsseldorf 1937 _______________38 5.9 Italy _______________________________________________________________39 5.9.0 Italy General ________________________________________________39 5.9.1 Esposizione generale italiana, Turin 1884__________________________39 5.9.2 Esposizione generale italiana, Turin 1898__________________________39 5.9.3 Esposizione internazionale d’arte decorativa moderna, Turin 1902 ______39 5.9.4 Esposizione internationazionale, Turin 1911________________________39 GEPPERT/COFFEY/LAU: International Exhibitions: A Bibliography 3 5.9.5 Esposizione universale, Rome 1942 [never held] ____________________40 5.10 Jamaica ___________________________________________________________40 5.10.1 International Exhibition, Kingston 1891 ____________________________40 5.11 Japan _____________________________________________________________40 5.11.0 Japan General_______________________________________________40 5.12 Netherlands ________________________________________________________40 5.12.0 Netherlands General __________________________________________40 5.13 New Zealand________________________________________________________40 5.13.1 International Exhibition, Christchurch 1906-1907 ____________________40 5.14 Portugal ___________________________________________________________40 5.14.1 Exposiçao do Mundo Português, Lisbon 1940 ______________________40 5.15 Russia_____________________________________________________________41 5.15.0 Russia General ______________________________________________41 5.15.1 Nizhni Novgorod Fair, Nizhni Novgorod 1875 _______________________41 5.16 South Africa ________________________________________________________41 5.16.1 Empire Exhibition, Johannesburg 1936-1937 _______________________41 5.17 Spain______________________________________________________________41 5.17.0 Spain General _______________________________________________41 5.17.1 Exposición Universal, Barcelona 1888 ____________________________42 5.17.2 Exposición Internacional, Barcelona 1929-1930 _____________________42 5.17.3 Exposición Ibero-Americana, Seville 1929-1930_____________________42 5.18 Sweden____________________________________________________________42 5.18.1 Allmänna konst- och industriutställningen, Stockholm 1897 ____________42 5.19 Switzerland _________________________________________________________43 5.19.0 Switzerland General __________________________________________43 5.20 United Kingdom _____________________________________________________43 5.20.0 United Kingdom General _______________________________________43 5.20.1 Great Exhibition of the Works of Industry of All Nations, London 1851 ____44 5.20.2 International Exhibition, London 1862 _____________________________47 5.20.3 International Exhibition, London 1874 _____________________________48 5.20.4 International Health Exhibition, London 1884 _______________________48 5.20.5 American Exhibition, London 1887 _______________________________48 5.20.6 International Exhibition, Glasgow 1888 ____________________________48 5.20.7 Irish International Exhibition, London 1907 _________________________48 5.20.8 Franco-British Exhibition, London 1908____________________________48 5.20.9 Japan-British Exhibition, London 1910 ____________________________49 5.20.10 Glasgow History Exhibition, 1911 ________________________________49 5.20.11 British Empire Exhibition, Wembley 1924-1925______________________49 5.20.12 Empire Exhibition, Glasgow 1938 ________________________________49 5.20.13 Britain Can Make it Exhibition, London 1946________________________50 5.20.14 Festival of Britain, London 1951 _________________________________50 5.21 United States of America ______________________________________________50 5.21.0 USA General ________________________________________________50 5.21.1 Exhibition of the Industry of All Nations, New York, New York 1853-1854 _________________________________53 5.21.2 Centennial Exhibition, Philadelphia, Pennsylvania 1876_________________________________54 GEPPERT/COFFEY/LAU: International Exhibitions: A Bibliography 4 5.21.3 World’s Industrial and Cotton Centennial Exposition, New Orleans, Louisiana 1884-1885 ______________________________56 5.21.4 World’s Columbian Exposition, Chicago, Illinois 1893 _________________________________________56 5.21.5 California Midwinter International Exposition, San Francisco, California 1894 __________________________________62 5.21.6 Cotton States and International Exposition, Atlanta, Georgia 1895 _________________________________________63 5.21.7 Trans-Mississippi and International Exposition, Omaha, Nebraska 1898 _______________________________________63 5.21.8 Pan-American Exposition, Buffalo, New York 1901________________________________________63 5.21.9 South Carolina Interstate and West Indian Exposition, Charleston, South Carolina, 1901-1902 ___________________________63 5.21.10 Louisiana Purchase Exposition, St. Louis Missouri 1904 ________________________________________64 5.21.11 Lewis and Clark Centennial Exposition, Portland, Oregon 1905 ________________________________________65 5.21.12 Jamestown Exposition, Jamestown, Virginia 1907 ______________________________________66 5.21.13 Alaska-Yukon-Pacific Exposition, Seattle,
Recommended publications
  • Hwang, Yin (2014) Victory Pictures in a Time of Defeat: Depicting War in the Print and Visual Culture of Late Qing China 1884 ‐ 1901
    Hwang, Yin (2014) Victory pictures in a time of defeat: depicting war in the print and visual culture of late Qing China 1884 ‐ 1901. PhD Thesis. SOAS, University of London http://eprints.soas.ac.uk/18449 Copyright © and Moral Rights for this thesis are retained by the author and/or other copyright owners. A copy can be downloaded for personal non‐commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder/s. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holders. When referring to this thesis, full bibliographic details including the author, title, awarding institution and date of the thesis must be given e.g. AUTHOR (year of submission) "Full thesis title", name of the School or Department, PhD Thesis, pagination. VICTORY PICTURES IN A TIME OF DEFEAT Depicting War in the Print and Visual Culture of Late Qing China 1884-1901 Yin Hwang Thesis submitted for the degree of Doctor of Philosophy in the History of Art 2014 Department of the History of Art and Archaeology School of Oriental and African Studies, University of London 2 Declaration for PhD thesis I have read and understood regulation 17.9 of the Regulations for students of the School of Oriental and African Studies concerning plagiarism. I undertake that all the material presented for examination is my own work and has not been written for me, in whole or in part, by any other person.
    [Show full text]
  • Shanghai, China's Capital of Modernity
    SHANGHAI, CHINA’S CAPITAL OF MODERNITY: THE PRODUCTION OF SPACE AND URBAN EXPERIENCE OF WORLD EXPO 2010 by GARY PUI FUNG WONG A thesis submitted to The University of Birmingham for the degree of DOCTOR OF PHILOSOHPY School of Government and Society Department of Political Science and International Studies The University of Birmingham February 2014 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. ABSTRACT This thesis examines Shanghai’s urbanisation by applying Henri Lefebvre’s theories of the production of space and everyday life. A review of Lefebvre’s theories indicates that each mode of production produces its own space. Capitalism is perpetuated by producing new space and commodifying everyday life. Applying Lefebvre’s regressive-progressive method as a methodological framework, this thesis periodises Shanghai’s history to the ‘semi-feudal, semi-colonial era’, ‘socialist reform era’ and ‘post-socialist reform era’. The Shanghai World Exposition 2010 was chosen as a case study to exemplify how urbanisation shaped urban experience. Empirical data was collected through semi-structured interviews. This thesis argues that Shanghai developed a ‘state-led/-participation mode of production’.
    [Show full text]
  • El Lissitzky Letters and Photographs, 1911-1941
    http://oac.cdlib.org/findaid/ark:/13030/tf6r29n84d No online items Finding aid for the El Lissitzky letters and photographs, 1911-1941 Finding aid prepared by Carl Wuellner. Finding aid for the El Lissitzky 950076 1 letters and photographs, 1911-1941 ... Descriptive Summary Title: El Lissitzky letters and photographs Date (inclusive): 1911-1941 Number: 950076 Creator/Collector: Lissitzky, El, 1890-1941 Physical Description: 1.0 linear feet(3 boxes) Repository: The Getty Research Institute Special Collections 1200 Getty Center Drive, Suite 1100 Los Angeles, California, 90049-1688 (310) 440-7390 Abstract: The El Lissitzky letters and photographs collection consists of 106 letters sent, most by Lissitzky to his wife, Sophie Lissitzky-Küppers, along with his personal notes on art and aesthetics, a few official and personal documents, and approximately 165 documentary photographs and printed reproductions of his art and architectural designs, and in particular, his exhibition designs. Request Materials: Request access to the physical materials described in this inventory through the catalog record for this collection. Click here for the access policy . Language: Collection material is in German Biographical/Historial Note El Lissitzky (1890-1941) began his artistic education in 1909, when he traveled to Germany to study architecture at the Technische Hochschule in Darmstadt. Lissitzky returned to Russia in 1914, continuing his studies in Moscow where he attended the Riga Polytechnical Institute. After the Revolution, Lissitzky became very active in Jewish cultural activities, creating a series of inventive illustrations for books with Jewish themes. These formed some of his earliest experiments in typography, a key area of artistic activity that would occupy him for the remainder of his life.
    [Show full text]
  • Museum Policies in Europe 1990 – 2010: Negotiating Professional and Political Utopia
    Museum Policies in Europe 1990 – 2010: Negotiating Professional and Political Utopia Lill Eilertsen & Arne Bugge Amundsen (eds) EuNaMus Report No 3 Museum Policies in Europe 1990–2010: Negotiating Professional and Political Utopia (EuNaMus Report No. 3) Lill Eilertsen & Arne Bugge Amundsen (eds) Copyright The publishers will keep this document online on the Internet – or its possible replacement – from the date of publication barring exceptional circumstances. The online availability of the document implies permanent permission for anyone to read, to download, or to print out single copies for his/her own use and to use it unchanged for noncommercial research and educational purposes. Subsequent transfers of copyright cannot revoke this permission. All other uses of the document are conditional upon the consent of the copyright owner. The publisher has taken technical and administrative measures to assure authenticity, security and accessibility. According to intellectual property law, the author has the right to be mentioned when his/her work is accessed as described above and to be protected against infringement. For additional information about Linköping University Electronic Press and its procedures for publication and for assurance of document integrity, please refer to its www home page: http://www.ep.liu.se/. Linköping University Interdisciplinary Studies, No. 15 ISSN: 1650-9625 Linköping University Electronic Press Linköping, Sweden, 2012 URL: http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-81315 Copyright © The Authors, 2012 This report has been published thanks to the support of the European Union’s Seventh Framework Programme for Research - Socio-economic Sciences and Humanities theme (contract nr 244305 – Project European National Museums: Identity Politics, the Uses of the Past and the European Citizen).
    [Show full text]
  • 2017/18 Trinity Hall Review 2017/18 Trinity Hall CAMBRIDGE
    TRINITY HALL CAMBRIDGE Trinity Hall Review 2017/18 Academic Year 2017/18 Academic Year Trinity Hall Trinity A year in the Hall life community of the Trinity 2017/18 2017/18 2 Trinity Hall Reports from our Officers Welcome to the fifth edition of the Trinity Hall Review. We hope you enjoy reading about the year in College. A highlight for us was the Alumni Summer Party in July. We were delighted to welcome over 190 alumni and guests to a sunny Wychfield for a fun-filled day of activities and socialising. We hope everyone had as much fun as our cover star! During the year, we also launched the improved College website, received planning permission for a new music practice and performance space in Avery Court, and welcomed back several alumni for their weddings in College. Your generous donations continue to have a positive impact on the lives of students and the fabric of College; thank you for your continued support. Kathryn Greaves Alumni Communications Officer Stay in touch with the College network: 32 Alumni @TrinityHallCamb News inside Reports from our Officers 2 The Master 2 The Bursar 4 The Senior Tutor 6 The Graduate Tutor 8 The Admissions Tutor 10 The Dean 11 The Development Director 12 The Junior Bursar 14 The Head of Conference and Catering Services 15 The Librarian 16 The Director of Music 17 College News 18 The JCR President’s Report 20 The MCR President’s Report 21 Student Reports 22 News of Fellows and Staff 26 Seminars and Lectures 28 Fundraising 30 18 Alumni News 32 THA Secretary’s Report 34 College News Alumni News 36 In Memoriam 38 2017/18 Information 40 List of Fellows 42 College Statistics 46 List of Donors 50 Get involved 59 Thank you to all who have contributed to this edition of the Trinity Hall Review.
    [Show full text]
  • Introduction
    Introduction The PRESSA opened its doors in Cologne on 12 May 1928. To this day, this international press exhibition, deemed by contemporaries to be the “world’s first look at the press” is unrivalled in size and importance. By the time the last ticket had been sold that October, more than five million visitors from Ger- many and around the world had taken in the facilities, halls and pavilions on the Deutzer banks of the Rhine, all of which had required an unprecedented degree of time and effort to build. They were able to admire the press exhibits and cultural presentations of the many participating nations (including the members of the League of Nations), attend the exhibition’s many informative and entertaining events and see the numerous tourist attractions in and around the host city and along the Rhine. Despite its contemporary and media-historical significance, the PRESSA has, in retrospect, hardly been studied. One might even say that it has been for- gotten. On the occasion of the 80th anniversary of its inauguration, an interna- tional interdisciplinary conference was therefore organised by the Centre for European and International Studies Research at the University of Portsmouth, the Institute of “Deutsche Presseforschung” at the University of Bremen and the Bremen Society for German Press Research in order to come to terms with the PRESSA’s significance. Along with presentations on the preparation and implementation of the exhibition and its political and artistic implications, the conference also dealt with the appearance of the German-Jewish press at the PRESSA. For the first time this press had the chance to present itself, in its own pavilion no less, as part of the general press to a wider public.
    [Show full text]
  • 1 a Chanson Des Vieux Amants? Belgium and the World's Fairs Dr. Rika Devos Department of Architecture & Urban Planning, Gh
    A chanson des vieux amants? Belgium and the world’s fairs dr. Rika Devos Department of Architecture & Urban Planning, Ghent University St.-Lucas, Department of Architecture, Wenk World’s fair architecture: a setting for discussion World’s fairs would have lost their meaning in today’s mediatised global village: in 2010, this is old news, as world’s fairs, by their very existence, continue to deliver proof of the will to show, to (re)consider, nothing less than the world. Printed press, live satellite television, Internet, YouTube and Skype, multinational corporations, free travel, changed concepts of the nation and international relations, Europe without borders: all these eye and mind openers have not, as was suggested by many in the 1990ies, drained the sense and purpose from world’s fairs. Ever since the first post-war world’s fair – Expo 58, held in Brussels – organisers have publically questioned the use of their events, as from the 1950s onwards, evolutions in science, (tele)communications and transportation theoretically made the world accessible to all. But world’s fairs offer a specific view of the world, bound by place, time and the exhibition’s theme, which give order and sense to the gathering. Indeed, one of the criteria used by the BIE1 to grant a city the right to organise a world’s fair is the choice and elaboration of a relevant theme. Such a theme – in case of Shanghai 2010 ‘Better City, Better Life’ – has to set the goals for the fair, give sense to the efforts of the participants, provide an opportunity to differentiate from others and unite all in a conceptual way.
    [Show full text]
  • Checklist of the Exhibition Checklist of the Exhibition Note: All Objects Are
    Checklist of the exhibition Note: All objects are from the collections of the Getty Research Institute, unless otherwise noted. When “photograph” is listed as the medium, the item is a documentary photograph of an original design or artwork. Futurist Beginnings 1. El Lissitzky Cover of Solntse na izlete (Spent sun) Poems by Konstantin Bolshakov Moscow: Tsentrifuga, 1916 88-B24323 2. Natalia Goncharova Cover of Vtoroi sbornik Tsentrifugi (Second Centrifuge collection) Poems by eleven authors Moscow: Tsentrifuga, 1916 90-B4642 3. Natalia Goncharova Cover of Serdtse v perchatke (Heart in a glove) Poems by Konstantin Bolshakov Moscow: Mezonin poezii, 1913 88-B24316 4. Natalia Goncharova Cover of Vetrogradari nad lozami (Gardeners on the vines) Poems by Sergei Bobrov Moscow: Lirika, 1913 88-B24275 1 4a. Natalia Goncharova Pages from Vetrogradari nad lozami (Gardeners on the vines) Poems by Sergei Bobrov Moscow: Lirika, 1913 88-B24275 Yiddish Book Design 5. El Lissitzky Dust jacket from Had gadya (One goat) Children’s illustrated book based on the Jewish Passover song Kiev: Kultur Lige, 1919 1392-150 6a. El Lissitzky Cover of Had gadya (One goat) Children’s illustrated book based on the Jewish Passover song Kiev: Kultur Lige, 1919 1392-150 6b. El Lissitzky Page from Had gadya (One goat) Children’s illustrated book based on the Jewish Passover song Kiev: Kultur Lige, 1919 1392-150 7. El Lissitzky Cover of Sihas hulin: Eyne fun di geshikhten (An everyday conversation: A story) Tale by Moses Broderson Moscow: Ferlag Chaver, 1917 93-B15342 8. El Lissitzky Frontispiece from deluxe edition of Sihas hulin: Eyne fun di geshikhten (An everyday conversation: A story) Tale by Moses Broderson Moscow: Shamir, 1917 93-B15342 2 9.
    [Show full text]
  • International Exhibitions, Expositions Universelles and World's Fairs, 1851-2005: a Bibliography
    Freie Universität Berlin, Germany California State University, Fresno, USA International Exhibitions, Expositions Universelles and World’s Fairs, 1851-2005: A Bibliography by Alexander C.T. Geppert, Jean Coffey and Tammy Lau 1. Introduction _________________________________________________________ 5 2. Research Aids ______________________________________________________ 7 2.1 Research Aids General _________________________________________________7 2.2 Bibliographies ________________________________________________________8 2.3 Review Articles ______________________________________________________10 2.4 Journals and Newsletters ______________________________________________10 3. History and Theory of International Exhibitions: General Works _______________ 11 3.1 Official Exhibition Regulations ___________________________________________11 3.2 Exhibition Theory _____________________________________________________11 3.3 Exhibition History _____________________________________________________13 4. International Exhibitions, 1851-2005 ____________________________________ 28 4.1 Australia ____________________________________________________________28 4.1.0 Australia Genera l _____________________________________________28 4.1.1 International Exhibition, Sydney 1879-1880 _________________________28 4.1.2 International Exhibition, Melbourne 1880-1881 ______________________28 4.1.3 Centennial International Exhibition, Melbourne 1888-1889 _____________28 4.1.4 Expo 88, Brisbane 1988 ________________________________________28 4.2 Austria _____________________________________________________________28
    [Show full text]
  • By Jennifer Nicola Wilson, BA (Hons.)
    EXHIBITING FRANCE IN AMERICA: THE FRENCH PAVILION AT THE NEW YORK WORLD’S FAIR OF 1939 by Jennifer Nicola Wilson, B.A. (Hons.) A thesis submitted to the Faculty of Graduate Studies and Research in partial fulfillment of the requirements for the degree of Master of Arts Department of History Carleton University Ottawa, Ontario June 16, 2006 © copyright 2006 Jennifer Wilson Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Library and Bibliotheque et Archives Canada Archives Canada Published Heritage Direction du Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington Ottawa ON K1A 0N4 Ottawa ON K1A 0N4 Canada Canada Your file Votre reference ISBN: 978-0-494-18307-6 Our file Notre reference ISBN: 978-0-494-18307-6 NOTICE: AVIS: The author has granted a non­ L'auteur a accorde une licence non exclusive exclusive license allowing Library permettant a la Bibliotheque et Archives and Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par I'lnternet, preter, telecommunication or on the Internet, distribuer et vendre des theses partout dans loan, distribute and sell theses le monde, a des fins commerciales ou autres, worldwide, for commercial or non­ sur support microforme, papier, electronique commercial purposes, in microform, et/ou autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriete du droit d'auteur ownership and moral rights in et des droits moraux qui protege cette these. this thesis.
    [Show full text]
  • Lusophone Journal of Cultural Studies / Revista Lusófona De Estudos Culturais
    Revista Lusófona de Estudos Culturais / Lusophone Journal of Cultural Studies, vol. 7, n. 2, 2020, pp. 73-91 https://doi.org/10.21814/rlec.2628 Objectification of the Chopi music in the “First Portuguese Colonial Exhibition” (Porto, 1934) Eduardo Adolfo Lichuge Departamento de Artes, Escola de Comunicação e Artes, Universidade Eduardo Mondlane, Mozambique / Departamento de Comunicação e Arte, Instituto de Etnomusicologia e de Estudos de Música e Dança, Universidade de Aveiro, Portugal Abstract The cultural objectification process is selective, as it implies the recontextualization of certain cultural objects in a different context than the one that generated them, attributing them new significance and meanings (Handler, 1984, p. 62). During the First Portuguese Colonial Exhibition (Porto, 1934), this attitude was related to the discourse of invention of the “other”, where the relations between societies are governed by certain hierarchies. Mudimbe (2013, pp. 15-16) designates them as settlers, those who establish a region and dictate the rules; the colo- nizers, those who explore a territory under the control of the local majority, with a tendency to organize and transform non-European zones into fundamentally European constructions. At the end of this hierarchy, I would add the colonized, that is, those who obey. In the context of the colonial exhibition in Porto (1934), the Chopi music was recontextualized, and new meanings and significance were attributed, becoming a symbol of Portuguese national identity. Therefore, the Chopi music during the colonial exhibition of Porto was transformed into practices of surrender and submission of Mozambican communities, and its meanings and significance were reduced in acts of folk representation through Western performance models and the imposition of the respective aesthetic and moral models, including vertical communication from top to bottom.
    [Show full text]
  • Herbert Bayer's Exhibition Catalogue for the 1930 Section Allemande
    $UFKLWHFWXUDO Miller, W 2017 Points of View: Herbert Bayer’s Exhibition Catalogue for the 1930 Section Allemande. Architectural Histories, 5(1): 1, +LVWRULHV pp. 1–22, DOI: https://doi.org/10.5334/ah.221 RESEARCH ARTICLE Points of View: Herbert Bayer’s Exhibition Catalogue for the 1930 Section Allemande Wallis Miller Sigfried Giedion called Herbert Bayer’s exhibition catalogue for the 1930 Section Allemande a “minor typographical masterpiece.” Like similar catalogues, it is inexpensive, provides an inventory list, has an introduction, functions as a guide, and is illustrated. However, the majority of its images are of instal- lations, not their contents. Bayer accommodates the catalogue type for applied arts exhibitions by list- ing installations as objects, but he confronts the type by showing installations as display contexts that establish points of view, emulating, idealizing and interpreting the experience of the exhibition. By inde- pendently constructing ways of seeing and understanding the exhibition, the catalogue resists being an appendage to the exhibition, despite their close relationship. Giedion may have viewed Bayer’s catalogue as an important but secondary work of graphic design, but this article argues that it is of primary signifi- cance as an exhibition catalogue, an unusual essay on the book typology that is conscious of its history while moving outside — to other types of book design and to exhibitions — to transform it. Introduction In the summer of 1930, crowds filled Paris’s Grand Palais to capacity. The people were heading to the Section Alle- mande (German Section), the German Werkbund’s exhibi- tion at the annual Salon of the Société des Artistes Déco- rateurs (Society of Decorative Artists).
    [Show full text]