Exhibition, Museum, Expositions and Worlds Fairs

This essay provides an analysis of the Andaman Islands exhibit at the Colonial and Indian Exhibition of 1886. It explores the ways in which a display of near-life-size clay models, complete with indigenous-made manufactures, presented a specific vision of the region to a popular British audience. Using visual evidence, archival material and contemporary commentary on the exhibition, the essay investigates the mechanics of the exhibition paradigm, documenting its impact upon audiences’ perceptions of the Andamanese peoples. It argues that the models were intended and were successfully received as tools with which to popularize scholarly judgements of the region’s peoples at the lowest point of a perceived sociocultural-evolutionary hierarchy, and demonstrates how this specific exhibit was employed as dynamic, decorative visual entertainment for a metropolitan audience. The implications of the substitution of clay figures for real human bodies will be examined, and it will be argued that this particular medium acted as an absorbent surface upon which British audiences could safely posit perceived ‘truths’ about their distant subjects. Whereas ‘living exhibits’ were able to challenge the terms of their representation, the static models were seen to verify colonial concerns regarding the violent depravity, overt sexuality and corporeal availability of the non-Western ‘other’.

Focusing on experts in technology and science, ‘Building Europe on Expertise’ delivers a new reading of European history. The authors show that modern European history was defined by experts using their new knowledge to shape societies, set political agendas and establish research institutions and agendas which proved decisive in integrating the continent.

Il volume attraverso fonti in gran parte inedite (disegni, immagini, interviste), fornisce un'analisi critica delle opere di architettura e di design di Manuel Aires Mateus, protagonista dell'architettura portoghese contemporanea. Un capitolo specifico è dedicato ad aspetti compositivi e tecnologico-costruttivi di exhibit design. Il volume è interamente bilingue (italiano/inglese).

Alice Davis Hitchcock Award for 1992, Society of Architectural Historians.
Most Outstanding Book in Architecture and Urban Planning, Professional and Scholarly Publishing Division, Association of American Publishers, Inc., 1991.
International Architecture Book Award, American Institute of Architects, 1992: "This is magisterial history with a grand sweep, an eye for detail and a determination not to simplify.  If Modern architecture in Italy over five generations was complex, paradoxical and full of counter-tendencies in any one architect, then these are lovingly pulled apart and exposed.""

Para celebrar os cem anos da independência do Brasil, o governo de Epitácio Pessoa organizou a Exposição do Centenário, realizada no Rio de Janeiro entre setembro de 1922 e julho de 1923. Um sucesso, a exposição atraiu mais de três milhões de visitantes e vários expositores estrangeiros.

Il contributo ripercorre la storia del più importante calco novecentesco della Pietà, «calco originale» come lo definisce la museologia di settore, cioè di prima generazione, eseguito dal maestro formatore Francesco Mercatali.  Le ricerche condotte presso l’Archivio della Reverenda Fabbrica della Basilica di San Pietro e presso l’Archivio del Capitolo in occasione del convegno, nonché la ricognizione del fondo FFAS (Formatori Fotografi Artisti e Studiosi) dell’Archivio Storico dei Musei Vaticani, hanno consentito di chiarire molti aspetti della storia esecutiva del calco: la data esatta e le ragioni della sua realizzazione, sinora stranamente nebbiose in letteratura, così come i molti aspetti del suo ruolo di “controfigura” per eccellenza della Pietà nelle vicende cruciali che hanno attraversato la sua storia novecentesca, dalle misure di protezione bellica durante il secondo conflitto mondiale – dalle quali nasce l’idea di realizzare il calco – alla partecipazione dell’originale all’Expo di New York nel 1964-65, sino all’attentato e al restauro del 1972, capitolo drammatico dove il ruolo del calco si rivela cruciale nel ribaltamento che lo rende “matrice” del suo stesso originale nelle parti più danneggiate del volto della Vergine, funzione paradossale di grande interesse anche da un punto di vista sociologico e di storia della cultura. Il contributo ripercorre inoltre le vicende relative all’esecuzione, tra gli anni settanta e ottanta, di altri calchi della Pietà nel Laboratorio Restauro Marmi dei Musei Vaticani, cercando di tracciare una prima mappatura delle copie oggi esistenti provenienti dal calco Mercatali.

In 1899 the great exhibition devoted to Alessandro Volta was meant to open a new season of richness for Como and the Lake. Nonetheless, in 1927 the second exhibition organized for the centennial anniversary of Volta's death was promoted by city's institutions and local businessmen as moment of improvement in the fields of economics, culture and tourism. Around the 1927 exhibition new buildings and facilities were built redesigning the historical downtown and its surroundings, such as the Sinigaglia Stadium built in the 1899 exhibition site, the Faro Voltiano on the Brunate hill, in the place of an ephemeral tower. The paper aims to reconstruct some events in Como's urban history in the first three decades of 19 th century, following both stylistic and architectural issues and connections with municipal identity and then fascist propaganda.

Encompasses the study of methods for investigation, exploration and data collection such as undertaking and differentiating between qualitative and quantitative data collection for design problems; examining discursive methods of critical analysis and practice; and employing emerging theories and practices in supervised research projects.

O artigo analisa a participação do Pará na Exposição Internacional da Indústria e do Trabalho em Turim, realizada em 1911. A mostra paraense reuniu, sobretudo, produtos oriundos do extrativismo e pode ser caracterizada pelo discurso científico, materializado, principalmente, pela presença de um renomado cientista na comissão organizadora, o botânico suíço Jacques Huber (1867-1914), à época diretor do Museu Goeldi, em Belém. As razões do destaque dado à ciência na exposição paraense de Turim e do envolvimento de um cientista em um certame comercial são estudadas a partir de três questões: as estratégias diplomáticas em jogo; o papel atribuído à ciência na organização da mostra; e as forças dissonantes na representação do país, perceptíveis na dificuldade de elaborar um discurso nacional e na distância entre uma sociedade profundamente desigual e a imagem que se construiu dessa mesma sociedade. (A parte 2 deste artigo será publicada na próxima Varia Historia, vol. 32, n. 58, janeiro-abril 2016)

The article analyses the participation of the Brazilian State of Pará at the International Exposition of Industry and Work in Turin, 1911. The Pará exhibition brought together especially products from the extractivism and may be characterized by its scientific discourse, materialized mainly by the presence of a renowned scientist in the organizing committee, the Swiss botanist Jacques Huber (1867-1914), then Director of the Goeldi Museum in Belém. The reasons to highlight science in the Pará exhibition and for the involvement of a scientist in a commercial event are studied through the following questions: the diplomatic strategies that took place in Turin; the role given to science in the organization of this world’s fair; and the dissonant forces in the representation of Brazil, noticeable on the difficulty of drawing up a national discourse and on the distance between a deeply unequal society and the image that was built of this same society. (The second part of this article will be published in next Varia Historia, vol. 32, n. 58, january-april 2016)

Patrice Ballester " World expo as a marketing and communication tool for the business tourism as part of the Grand Paris / Toulouse 2025 bid?" communication at ORME city events mega-events, 2021, 26 May 2021.

The object of this communication is first of all to relate the original experience of Toulouse metropolis applying as a satellite city of the world expo of Grand Paris 2025, of which I was able to order the entire structure. geohistoric and tourist file with the representative of Tourism of the Metropolis.
The governance of an exhibition city will be the subject of this first part, but also the ability to paint a portrait of a regional metropolis wishing to reap the benefits of a world expo many times over. expected for the country: how to propose a strategy that is both marketing and communication for an innovative and culturally dynamic regional metropolis?
In conclusion, to justify the holding of mega-events, their budgets and the inherent nuisances; the host cities and the national actors of the project are well aware that it is necessary to think more and more at the national level of this type of event and to put forward multiple cooperation with other territories such as metropolises are the gateway. An objective of spatial and social justice is emerging. This reasoning can also be explained by the fact of being able to obtain all the votes (national and regional votes) and necessary funding in the face of increasingly important controversies over their organization.

In May 1899, the town of Como inaugurated an universal exhibition organized for the centenary of the invention of the battery by Alessandro Volta. The exhibition, set up in honour and celebration of an illustrious citizen of Como, was not focused on electricity alone, but also on decorative arts and the silk and furniture industry, including a special section of artistic objects from the territories of the Diocese of Como curated by Santo Monti, author a few years later of a pioneering study on the arts in Northwestern Lombardy. The operation resonated with national and international press: a congress of electricians was presented at the exhibition, anticipating the famous international symposium of physics that would be held in Como in 1927 with the participation of, among others, Fermi, Marconi and many Nobel prizes in a changed political and cultural context. The exhibition halls, designed by engineer Eugenio Linati, occupied much of the area then destined to become a public garden, on which the first museum dedicated to Volta's work, the Tempio Voltiano, was founded in 1928. The exhibition architectures were characterized by a magniloquent style in a fusion of classical, allegorical , eclectic elements, in order to provide a valuable framework for the public rituals of the inauguration in presence of King Umberto I and Queen Margherita. Mostly destroyed by a fire, from which the hall of Belle Arti survived, the exhibition buildings were quickly reconstructed and reassembled. This paper explores the multiple aspects of the great exhibition, from the architecture of buildings to the media propaganda (posters, periodicals, etc.) and investigates the connection between the promotion of historical and artistic studies on the territory, the heritage preservation, the decorative and industrial arts ranging from the eclectic style to Art Nouveau.

Ballester, Patrice, (2017), Rapport pour la mairie de Toulouse, So Toulouse agence attractive, pour le dossier de candidature de Toulouse métropole à l'organisation d'un grand Forum thématique et de détours -flâneries lors de l'Exposition universelle du Grand Paris 2025 Vade-mecum pour la rédaction du dossier de la candidature toulousaine, So Toulouse, Toulouseatout, 74 p.

D’une histoire urbaine mondiale à une histoire urbaine locale.
Les expositions universelles et leurs fonctions, du global au local.
Une géographie de la mondialisation

Curieusement, rarement et étonnamment, les relations étroites entre la pratique des expositions universelles du milieu du XIXe siècle jusqu’à nos jours et l’histoire urbaine des villes hôtes n’ont pas fait l’objet de changement d’échelle et de critique historiographique et géographique au plan des apports et des correspondances entre une histoire urbaine locale et une histoire urbaine mondiale. Le réceptacle que sont les expositions universelles nous offre un formidable champ d’investigation pour comprendre les sociétés urbains dans leurs grands traits, mais aussi dans leur capacité à innover, proposer et s’exposer pour des raisons de progrès et de vivre ensemble. Généralement, l’histoire urbaine à pour champ  principal l’étude de l’organisation des villes et les différentes évolutions sociétales  qu’elle connaît. Une multitude de monographies locales sont réalisées à travers le monde et pourtant, avec les expositions universelles on peut dresser un portrait de ville tant historique que géographique permettant de mieux comprendre les adaptations du monde urbain aux effets de la mondialisation et de ses différentes phases.
De plus, les expositions répondent aux autres expositions, elles deviennent une longue chaîne tout en s’influençant et proposant des raccourcis, des amplification ou d’étonnantes similitudes, ce qui d’un côté nous amène à observer une uniformisation des pratiques, mais aussi des différenciations qui s’appuient sur les identités locales tout en rapprochant les formes urbaines créées pour l’occasion.
A travers ce travail de recherche sur les expositions universelles et l’importance de son rattachement à l’histoire et géographie de la métropole de Toulouse, deux histoires, deux géographies en parallèle s’entrecroisent, se répondent et expliquent en partie pour les grandes métropoles les effets de la mondialisation des cultures, des savoirs, des techniques et des modes de vie.
D’une histoire urbaine mondiale à une histoire urbaine locale.

Les expositions universelles et leurs fonctions, du global au local.

Une géographie de la mondialisation

Curieusement, rarement et étonnamment, les relations étroites entre la pratique des expositions universelles du milieu du XIXe siècle jusqu’à nos jours et l’histoire urbaine des villes hôtes n’ont pas fait l’objet de changement d’échelle et de critique historiographique et géographique au plan des apports et des correspondances entre une histoire urbaine locale et une histoire urbaine mondiale. Le réceptacle que sont les expositions universelles nous offre un formidable champ d’investigation pour comprendre les sociétés urbains dans leurs grands traits, mais aussi dans leur capacité à innover, proposer et s’exposer pour des raisons de progrès et de vivre ensemble. Généralement, l’histoire urbaine à pour champ  principal l’étude de l’organisation des villes et les différentes évolutions sociétales  qu’elle connaît. Une multitude de monographies locales sont réalisées à travers le monde et pourtant, avec les expositions universelles on peut dresser un portrait de ville tant historique que géographique permettant de mieux comprendre les adaptations du monde urbain aux effets de la mondialisation et de ses différentes phases.
De plus, les expositions répondent aux autres expositions, elles deviennent une longue chaîne tout en s’influençant et proposant des raccourcis, des amplification ou d’étonnantes similitudes, ce qui d’un côté nous amène à observer une uniformisation des pratiques, mais aussi des différenciations qui s’appuient sur les identités locales tout en rapprochant les formes urbaines créées pour l’occasion.
A travers ce travail de recherche sur les expositions universelles et l’importance de son rattachement à l’histoire et géographie de la métropole de Toulouse, deux histoires, deux géographies en parallèle s’entrecroisent, se répondent et expliquent en partie pour les grandes métropoles les effets de la mondialisation des cultures, des savoirs, des techniques et des modes de vie.

From a world urban history to a local urban history.
The World Fairs and their functions, global to local
A geography of the globalization

Curiously, rarely and strangely, the narrow relations between the practice of the World Fairs  (World expo) of the middle of the XIXth century until our days and the urban history of cities hosts were not the object of change of scale and of historiographical and geographical criticism in the plan of the contributions and of the correspondences between a local urban history and a world urban history.
The receptacle that are the World Fairs (World expo) offers us a great field of investigation to understand the urban societies in their big features, but also in their capacity to be innovated, to propose and to expose for reasons of progress and to live together. Generally, the urban history in for main field the study of the organization of cities and the various societal evolutions which she (it) knows. A multitude of local monographs is worldwide realized and nevertheless, with the World Fairs we can raise city portrait so historic as geographical allowing to understand better the adaptations of the urban world to the effects of the globalization and its various phases.
De una historia urbana global a una historia urbana local.
Exposiciones universales y sus funciones, desde lo global a lo local.
Una geografía de la globalización

Curiosamente, rara vez objeto y, sorprendentemente, la estrecha relación entre la práctica de las exposiciones universales de mediados del siglo XIX hasta la actualidad y la historia urbana de las ciudades anfitrionas no han estado reduciendo historiográfico y crítico y geográfico en términos de contribuciones y conexiones entre una historia urbana local y una historia urbana mundial. El receptáculo que es la muestra universal nos ofrece un formidable campo de investigación para entender las sociedades urbanas en sus características principales, pero también en su capacidad de innovar, proponer y exponerse por razones de progreso y de convivencia. En general, la historia urbana tiene como campo principal el estudio de la organización de las ciudades y las diversas evoluciones sociales que conoce. Una multitud de monografías locales se producen en todo el mundo y, sin embargo, con las exposiciones universales se puede dibujar un retrato de la ciudad histórica y geográfica para comprender mejor las adaptaciones del mundo urbano a los efectos de la globalización y sus diversas fases.
Además, las exposiciones responden a otras exposiciones, se convierten en una cadena larga al tiempo que influyen y ofrecen accesos directos, amplificación o similitudes sorprendentes, lo que por un lado nos lleva a observar una estandarización de prácticas, pero también diferenciaciones que se basan en identidades locales al unir formas urbanas creadas para la ocasión.
A través de este trabajo de investigación sobre exposiciones universales y la importancia de su conexión con la historia y la geografía de la metrópoli de Toulouse, dos historias, dos geografías en paralelo se entrelazan, responden y explican, en parte, a las principales ciudades los efectos de la globalización de las culturas, los conocimientos, las técnicas y las formas de vida.

At the end of the nineteenth century, Brazil, Mexico, and Peru were among the countries participating in the most important world's fairs in Europe and North America. These mass gatherings focused on national self-images as well as technological development and commodities, but the Latin American exhibition organizers also understood them to be transnational spaces that contributed to the mobility of persons, objects, and knowledge. In this context, the scientific display of pre-Columbian 'antiquities' was regarded as being as important as the participation in archaeological and anthropological congresses. By understanding the world's fairs as 'spaces of global knowledge', this article highlights the agency of Latin American scientists, intellectuals, and collectors in the transnational endeavour to create a 'Latin American antiquity' at the fairgrounds. Although most fair attendees sought to study and display the pre-Columbian past in an objective manner, the older dream of reconstructing the splendour of America's ancient civilizations never completely vanished.

In 1897 Russia had its debut at the Venice International Art Exhibition, with a group show commissioned by the State Academy of Fine Arts in Saint Petersburg and curated by
Ilya Repin. Based on Russian and Italian unpublished archival documentation and press reviews, the article sheds light on the organization of the art show, while also addressing
its critical and popular reception, mostly characterized by common places and stereotypes derived from Russian literature. In turn, such a critical response fitted the rhetoric of a “national character” promoted by early Biennale exhibitions and its collateral events, from public acquisitions to art criticism awards.

Con una mostra collettiva realizzata su commissione dell’Accademia Imperiale di Belle Arti di San Pietroburgo e a cura di Il’ja Repin, la Russia debuttò all’Esposizione Internazionale d’Arte di Venezia alla sua seconda edizione (1897). Alla luce di documenti inediti e di recensioni critiche di provenienza sia russa che italiana, l’articolo prende in esame le alterne fasi di realizzazione della rassegna e la sua accoglienza da parte di critica e pubblico. Ne emerge un quadro ricettivo in cui l’orizzonte d’attesa nei confronti dell’arte russa è in larga parte condizionato da precognizioni e stereotipi di natura letteraria, orientati verso l’individuazione di quel “carattere nazionale”, a cui si ispirava il “concorso delle nazioni” delle prime Biennali e le sue attività collaterali, dalle acquisizioni pubbliche ai premi alla critica

Dossier de candidature à l’Exposition universelle 2025 – GRAND PARIS - FORUM THÉMATIQUE TOULOUSE - UNE ODYSSÉE CONNECTÉE ENTRE TERRE ET CIEL À PARTAGER: La France s’est portée candidate pour l’Exposition universelle 2025 sur le thème « La connaissance à partager, la planète à préserver ». Toulouse Métropole, le département de Haute-Garonne, la région Occitanie et de nombreux autres partenaires régionaux, européens et internationaux proposent un forum thématique : UNE ODYSSÉE CONNECTÉE ENTRE TERRE ET CIEL À PARTAGER. S’engager pour l’Exposition universelle de 2025 est pour Toulouse un moyen de mettre à la disposition de ce grand événement non seulement sa vitrine technologique parmi les plus puissantes de France et d’Europe, mais également les atouts uniques de la région Occitanie, dont elle est la capitale. L’ambition européenne du territoire métropolitain et régional ont amené Toulouse Métropole et la région Occitanie à engager des démarches au sein d’une stratégie régionale de l’innovation autour de trois axes : attractivité et rayonnement, innovation, et dynamique de créations d’entreprises. Ce pacte conduit les territoires à oeuvrer ensemble sur les sujets majeurs. De 2018 à 2025, nous nous attacherons à amplifier le lien entre les nombreux événements du territoire, les activités des entreprises et le projet afin que le Forum thématique de l’Exposition universelle 2025 de Toulouse soit en totale cohérence avec sa politique d’attractivité et porté comme une évidence par tous les acteurs. Toulouse a ainsi choisi de faire vivre au public une véritable « odyssée connectée entre Terre et ciel à partager ». En relais direct du thème choisi par ExpoFrance, « La connaissance à partager, la planète à protéger », notre ville est le lien évident entre le savoir, à travers son tissu académique et de recherche, et l’enjeu primordial de la préservation de la planète. Creuset de l’exploration spatiale et de l’observation de la Terre, Toulouse entend capitaliser sur ces actifs précieux pour accélérer l’indispensable prise de conscience sur la protection de la planète auprès de tous les publics. C’est en effet depuis l’espace que l’on observe le mieux la Terre, préalable scientifique au déploiement d’actions correctives des comportements de l’Homme à l’égard des ressources naturelles. Ce défi ne peut être relevé que tous ensemble. C’est pour cela que la candidature de Toulouse pour l’Exposition universelle de 2025 rassemblera les habitants, les acteurs socio-économiques et les collectivités pour en faire un événement universel, à destination de tous, sur le territoire métropolitain. Toulouse est convaincue que l’attractivité ne se décrète pas : elle se prouve et s’entretient au quotidien. Une Exposition internationale est « une manifestation ouverte à tous les domaines de l’activité humaine, où sont présentés des produits provenant de toutes les nations ». L’importance du terme « progrès » est manifeste, tant dans les œuvres exposées que dans le résultat concret sur les plans urbanistique et architectural de la manifestation. Aujourd’hui, la candidature officielle de Paris 2025 peut être un nouvel élément dans cette longue chaîne d’innovation et de l’histoire urbaine parisienne ; nous supposons que Paris veut à nouveau inventer, créer et innover dans le domaine des Expositions. ExpoFrance 2025 : projet Toulouse  Un territoire légitime : motivations et dessein  Toulouse, ville partenaire-satellite de l’Exposition universelle 2025  L’Exposition universelle à Toulouse  Une odyssée connectée entre Terre et ciel à partager  L’expérience visiteur  Les autres pays de l’exposition Les sites proposés  Les modalités logistiques Les modalités économiques et financières  La mobilisation de l’écosystème  Annexe : un comité de soutien large
Ballester, Patrice ( 2017), Application file in the World Fair  World expo 2025 - GREAT PARIS - THEMATIC FORUM TOULOUSE - A CONNECTED ODYSSEY ENTERS EARTH AND SKY TO BE SHARED, So Toulouse Agence d’attractivité, p.2-9 ; 15-19 ; 22-23. _
Ballester, Patrice ( 2017), Exposición universal 2025 - GRAND PARIS - FORO TEMATICO TOULOUSE - UNA ODISEA CONECTADA ENTRE LA TIERRA Y EL CIELO PARA COMPARTIR, So Toulouse Agence d’attractivité, p.2-9 ; 15-19 ; 22-23.
Application file in the World Fair  World expo 2025 - GREAT PARIS - THEMATIC FORUM TOULOUSE - A CONNECTED ODYSSEY ENTERS EARTH AND SKY TO BE SHARED

France applied for the World Fair World expo 2025 on the theme "The knowledge to be shared, the planet to be protected ". Toulouse Metropolis, the department of Haute-Garonne, the region Occitania and many more partners regional, European and international propose a thematic forum: A CONNECTED ODYSSEY ENTERS EARTH AND SKY TO BE SHARED. Make a commitment for the World Fair – World expo of 2025 is for Toulouse a means to give to this big event not only its technological shop showcase among the most powerful of France and Europe, but also the unique assets of the region Occitania, the capital of which it is. The European ambition of the metropolitan and regional territory brought Toulouse Metropolis and the region Occitania to hire initiatives within a regional strategy of the innovation around three axes: attractiveness and hub, innovation, and dynamics of new business start-ups. This pact leads territories to work together on the major subjects. From 2018 till 2025, we shall attempt to amplify the link between the numerous events of the territory, the activities of companies and the project so that the thematic Forum of the World Fair World expo 2025 of Toulouse is in total coherence with its politics of attractiveness and carried as an obvious fact by all the actors. Toulouse so chose to make live in the public a real "odyssey connected between Earth and sky to be shared". In direct relay of the theme chosen by ExpoFrance, "The knowledge to be shared, the planet to be protected ", our city is the obvious link enters the knowledge, through its academic tissue and of research, and the essential stake in the conservation of the planet. Melting pot of the space exploration and the observation of the Earth, Toulouse intends to capitalize on these precious active persons to accelerate the essential awareness on the protection of the planet with all the public. It is indeed since the space that we observe best the Earth, the scientific prerequisite in the deployment of corrective actions of the behavior of the Man towards natural resources. This challenge can be raised only all together. That's why the candidacy of Toulouse for the World Fair – World expo of 2025 will gather the inhabitants, the socioeconomic actors and the communities to make a universal event, aimed at all, on the metropolitan territory. Toulouse is convinced that the attractiveness does not decree: she – the city -  proves to itself. An world’s fair – World expo is " a demonstration open to all the domains of the human activity, where are presented products resulting from all the nations ". The importance of the term "progress" is obvious, both in the exposed works and in the concrete result on the city planning and architectural plans of the demonstration. Today, the official candidacy of Paris 2025 can be a new element in this long chain of innovation and the Parisian urban history; we suppose that Paris again wants to invent, to create and to innovate in the field of the World’s fair – World expo. 2025 ExpoFrance: Toulouse project  A justifiable territory: motivations and intention  Toulouse, partner-satellite city of the World Fair – World expo - 2025  The World Fair  World expo in Toulouse  An odyssey connected between Earth and sky to be shared  The experience visitor  Other countries of the exhibition  The proposed sites  The logistic modalities The economic and financial modalities The mobilization of the ecosystem  Appendix: a wide support committee - Exposición universal 2025 - GRAND PARIS - FORO TEMATICO TOULOUSE - UNA ODISEA CONECTADA ENTRE LA TIERRA Y EL CIELO PARA COMPARTIR Francia ha nominado para la Exposición Universal de 2025 sobre el tema "El conocimiento para compartir, el planeta para preservar". Toulouse Metrópoli, el departamento de Haute-Garonne, la región de Occitana y muchos otros socios regionales, europeos e internacionales proponen un foro temático: UNA ODISEA CONECTADA ENTRE LA TIERRA Y EL CIELO PARA COMPARTIR. Comprometerse con la Exposición Mundial 2025 es para Tolosa una forma de poner a disposición de este gran evento no solo su escaparate tecnológico entre los más poderosos de Francia y Europa, sino también los activos únicos de la región occitana, de que ella es la capital. La ambición europea del territorio metropolitano y regional ha llevado a Tolosa Metrópoli y la región de Occitana a tomar medidas dentro de una estrategia regional de innovación en torno a tres ejes: atractivo e influencia, innovación y creaciones comerciales dinámicas.

Newton’s Third Law of Physics suggests that for every action there is a reaction. In “No Justice, No Peace: L.A. 1992,” an exhibition on view at the California African American Museum through August 27, curator Tyree Boyd-Pates re-contextualizes the 25th anniversary of the Los Angeles Riots, showing how the violent days following the acquittal of four police officers in the videotaped beating of black motorist Rodney King has its roots in generations of racism, vice and civil unrest going back to the early 1900s -- content that you will not learn in history books.

In 2011, Italy celebrated its third national Jubilee. This was for historians a very important event for reflecting on the sharing of the Italian national identity and on the relationship between politics, memory and the Risorgimento . By focusing on these issues, it will become clear that the Italian case is that of a nation-state which, interestingly enough, lived through three subsequent yet very different institutional moments – each of which tried to renegotiate its relationship with the past during national jubilees in different ways

While China integrates Western values, it is creating a subtle shift between exogenous concepts and the re-appropriation of the latter—in dealing for the most part with so-called universal themes—with regard to its own symbolical system. To be more precise, it is new Confucianism”  that prevails today in the country’s system of governance. This is based on the idea that Far Eastern values should be taken in consideration again in contemporary societies without however discrediting Western ones, in keeping with the circle of influence of globalisation. China has revised and exploited these values; it has reinterpreted its so-called “classical” school of thought—and the symbolism associated with it—in order to adapt itself to the present time and to conceive its contemporary society from an international perspective. The historical events of the second half of the twentieth century in fact left a gaping cultural hole, a real stigma that Hu Jintao’s government, following on from Jiang Zemin’s, attempted to remove—and no doubt the new government under Xi Jinping will follow in his predecessors’ footsteps.
Due to this lack of logic in its own historical and cultural continuity, due to the total breakdown of its social structures that offended its national identity, Chinese society now regards its localities, objects, monuments, ancient artefacts and concepts as reflexive items that mirror its history and culture. It uses them to ensure the permanence of its symbolic order.  China reinvents, redeems, rebuilds by grafting significations on the relevant items in line with State Orthodoxy. Through this patrimonial undertaking, time gaps are “filled in” and a new order is affirmed. This article sets out to analyse this semantic shift from an ancient set of symbols to a set of symbols that are re-examined using the present as a yardstick.  The building commonly known as “The Crown of the East”  is representative of the “re-interpretative” ideology associating modernity and antiquity and more to the point, it encrypts the neo-Confucian vision of the contemporary world.

"Earlier provisional title was "Archaeology, Tourism, Museum...."

"This chapter is divided into two distinct sections that are positioned in a point-counterpoint structure of dialogue. These two position statements invoke the etymological meanings of the word essay, to attempt, put to the test, trial, to act out, to explore, travel, and travail. The first is an historical analysis written in the third person by an anthropologist whose expertise includes the ethnography of archaeology and the anthropology of tourism. The second is a counterpoint commentary written in the first person by an anthropologist whose specializations include Pre-Columbian and historical archaeology. Both of us have significant research experience in same area of the Maya world in Yucatán, México. From these two differing vantage points, we chart our perspectives on the relationship between archaeology and tourism in terms of the problems of exploration, protection, and exploitation.
In the first section, Castañeda takes an historical approach to the emergence of archaeology in the institutional context of the modern museum. He essays an analytical and theoretical manifesto about the deep, intimate interconnections between tourism and archaeology as revealed through an understanding of the museum. In his historical analysis of the role of archaeological representation in the museum, he identifies the sociological creation of universal heritage. He theorizes a notion of the universal citizen-heir as the implied benefactor of this universal heritage. In the second section, Mathews elaborates a commentary on this historical analysis of archaeology, tourism, heritage and the museum. Specifically, she counter-argues and assesses Castañeda theoretical and analytical claims through the use of archaeology and tourism at sites that are not postcard worthy. Together these two “attempts” grapple with the historical and contemporary interconnections between archaeology and tourism. Together we put to the test our typical assumptions about the ethics of archaeologists, tourists, and tourism promoters in the contemporary contexts in which we are now beginning to ask how and why archaeology and tourism are interwoven phenomena in today’s world.""

L'institut du monde arabe et la Maison européenne de la photographie ont conjointement organisé la seconde édition d'un événement qui devrait inscrire sa pérennité dans le paysage des expositions de rentrée parisienne : la Biennale des Photographes du Monde Arabe Contemporain, déployée dans huit lieux d'exposition de Paris. Une cinquantaine d'artistes sont réunis au sein d'un large panorama marqué par un focus ajusté sur la Tunisie et l'Algérie.

The postponement of Dubai expo 2020 [ World expo - World's fair ]
Le possible report de Dubai expo 2020, exposition universelle.
In the history and geography of world exhibitions, there have been cancellations of exhibitions such as that of 1942 in Rome and the EUR 42 district, however, leaving a modern administrative, congress and sports space. In 1930 under the supervision of the architect Marcello Piacentini and the curator Vittorio Cini, with a view to hosting the universal exhibition planned for the year 1942, an urbanization in the south of Rome resulted in the creation of a whole new district, but the universal exhibition was canceled in 1939 due to the Second World War. It was the same in France for the episodes of 1989 and 2004 (international exhibition). There are also shortcomings in applying for universal exhibitions, with the pitiful cancellation of the French candidacy for the universal exhibition in 2025 as an example. The same was true in the 1970s, 1980s and 1990s, generally with economic crises in relationship with political actors who cannot justify their organization or interrupt applications.

Ballester, Patrice, 2020, The possible postponement of Dubai expo 2020 [ World expo - World's fair ], feuillet de recherche, 6 p.

This paper analyses  King Leopold’s Antwerp network and which people from that network were involved in the organization of the World Fair 1885 as well as in the Congo Free State. How was Congo Free State marketed during the Antwerp World Fair of 1885 and what was the public reaction on the presentation of the Congo pavilion including the ‘life’ hut village? (in Dutch)

Une odyssée connectée entre Terre et Ciel à partager, préserver la planète vue du ciel.
Légitimité du territoire par rapport à ce thème
La ville de Toulouse a organisé à plusieurs reprises des expositions internationales, nationales et régionales, découlant directement des expositions universelles et internationales, qui sont à l’origine de la Foire internationale de Toulouse.
Lors de l’Exposition universelle de 1900 l’Observatoire de Toulouse participe à la création et au renouvellement de la carte du Ciel qui y sera présentée et obtient une médaille d’or grâce à la collection de clichés obtenus par Bourget et Montangerand.
La volonté de Toulouse était donc de bâtir un projet pérenne autour d’un thème issu de son ADN et s’illustrant d’ores et déjà dans la Métropole. Toulouse affiche en effet des leaderships incontestés en matière d’aéronautique, spatial et de médiation scientifique qui font d’elle une capitale savante et vivante qui irrigue l’ensemble du territoire.
Orientation(s) choisie(s) pour l’expérience qui sera offerte aux visiteurs
Autour des thèmes centraux de l’Espace, l’Aéronautique et de la Médiation scientifique, Toulouse souhaite proposer une programmation permettant une déambulation scientifique au coeur d’une cité innovante. L’intention est ainsi de concevoir un parcours au coeur de Toulouse et de ses abords, reliant les grands équipements et sites de culture scientifique : Muséum et Quais des savoirs, Piste des Géants (quartier de Montaudran, la Cité de l’Espace, Aéroscopia ainsi que le dôme de la Grave.
Par ailleurs, des navettes immersives offriront des expériences 3D/Hologramme/VR. Elles permettront une visualisation d’images ou la connexion à la sphère du Village global ou aux autres Forums thématiques.
Le Forum répondra aux 8 fonctions de la modernité des Expositions universelles définies par le chercheur et historien Pascal Ory : Exhibition technologique, fonctions de foire commerciale, d’exercice architectural, de levier urbanistique, d’exposition d’art, de « garden-party » de la puissance invitante, de société des nations et de fête populaire.
Ballester, Patrice (2017), "Expo France, Forum Thématiques",  Expo France GIP, p.11.

Muzea to miejsca wyjątkowe. To nie tylko skarbnice artefaktów i dzieł sztuki, ale również miejsce edukacji i wypoczynku. Jako jednostki publiczne powinny umożliwiać wszystkim korzystanie ze swojej pełnej oferty. Dotyczy to również osób niepełnosprawnych.
Po długich latach kryzysu Polska przeżywa obecnie „boom muzealny”. Szczególnie w ciągu ostatniego dziesięciolecia zainicjowano budowę wielu gmachów ekspozycyjnych, a także przystosowano różne zabytki do pełnienia nowej funkcji. Pośród najczęściej adaptowanych nieruchomości najliczniejszą grupę stanowią obiekty potechniczne i poprzemysłowe. Transformowanie istniejących budynków jest korzystne pod względem finansowym, ale niesie za sobą duże wyzwania. Jednym z głównych problemów jest dostosowanie ich dla osób niepełnosprawnych. Wyzwaniem są np. różnice poziomów, tunele, kanały, torowiska oraz zachowanie układu urządzeń technicznych. Usunięcie niektórych przeszkód jest niemożliwe lub trzeba zastosować rozwiązania indywidualne.
W artykule wskazane będą problemy projektowe oraz wykonawcze wynikające z konfrontacji zabytkowego obiektu poprzemysłowego i wprowadzanej funkcji muzealnej. Zostaną omówione na m. in. na przykładzie zajezdni w Szczecinie (Muzeum Techniki i Komunikacji „Zajezdnia Sztuki”), bydgoskiej fabryki broni (Explozeum), galerii sztuki w Gliwicach (Szyb Willson) oraz elektrowni w Radomiu (Mazowieckie Centrum Sztuki Współczesnej).

L'americano Charles Eames (1907-1978) è uno dei principali protagonisti del design per la poliedrica attività progettuale e comunicativa (dal disegno dei mobili a quello dei giocattoli, dall'allestimento di mostre all'attività di film-maker, dalla fotografia alla grafica pubblicitaria, dalle lezioni universitarie alle consulenze per il governo americano o indiano), per aver creato dei veri e propri archetipi del furniture design, per aver sempre perseguito una chiara impostazione del progetto. Insieme alla moglie Ray Kaiser (1912-1988) e ai numerosi collaboratori dell'Eames Office, egli ha composto un vero e proprio atlante del design, in cui creatività, senso del «gioco», libertà d'espressione e continua sperimentazione, su tecniche e materiali, non consentono una facile codificazione. Il presente contributo ne restituisce in sintesi la formazione intellettuale, le modalità della sua estetica, i rapporti con la cultura del tempo e i principali committenti, le opere principali.

In the 1880s British and American planned industrial communities revealed a distinct shift in spatial practices as two discrete architecture and landscape architectural aesthetics were applied to community design: Beaux Arts, and Arts and Crafts. Two of the most extensive planned industrial communities during this decade received aesthetic attention: Pullman, Illinois near Chicago (1880), established by George Pullman, and Port Sunlight, near Liverpool (1888), established by William Lever. Both Pullman and Lever believed that by applying a distinctive aesthetic they could establish a cohesive visual ideology for social control. Lever and Pullman believed that by creating “beautiful” spaces, this would encourage and/or constrain worker attitudes and behaviors, what Henri Lefebvre calls “means of control” (1991, p 26). In addition, both Pullman and Port Sunlight became central to establishing and maintaining each company's brand identity. This paper explores the visual ideologies these two industrialists used to produce a distinctive sense of community while also revealing the inherent tensions and limitations of those aesthetics. Not only do Pullman and Port Sunlight reflect an important shift in spatial practices during the 1880s, their architects and landscape architects became influential leaders in the visual ideologies of the City Beautiful and Garden City planning movements.

Alexander C.T. Geppert: Città brevi: storia, storiografia e teoria delle pratiche espositive europee, 1851-2000

Andrea Giuntini: La mobilità in mostra: i trasporti e le comunicazioni nelle esposizioni della seconda rivoluzione industriale

Paolo Brenni: Dal Crystal Palace al Palais de l’Optique: la scienza alle esposizioni universali, 1851-1900

Angela Schwarz: Transfers transatlantici tra le esposizioni universali,1851-1940

Luigi Tomassini: Immagini delle esposizioni universali nelle grandi riviste illustrate europee del XIX secolo

Ursula Lehmkuhl: Una mietitrice come catalizzatore: la Great Exhibition del 1851 e la costruzione sociale della relazione speciale anglo-americana

Anna Pellegrino: “Il gran dimenticato”: lavoro, tecnologia e progresso nelle relazioni degli “operai” fiorentini all’Esposizione di Milano del 1906

Vanessa Ogle: La colonizzazione del tempo: rappresentazioni delle colonie francesi alle esposizioni universali di Parigi del 1889 e del 1900

Maddalena Carli: Ri/produrre l’Africa romana: i padiglioni italiani all’Exposition coloniale internationale, Paris 1931

Andreas R. Hofmann: Utopie nazionali: grandi esposizioni nell’Europa centro-orientale, 1891-1929

Tammy Lau: Le promesse e i rischi di Internet nel regno delle esposizioni universali"