Universal Expositions

Les expositions universelles, une utopie touristique toujours d’actualité ? World’s Fair, The Renew of Touristic Utopia? ¿Exposiciones universales, una utopía turística siempre de actualidad? À travers les expositions universelles récentes et passées et plus particulièrement les expositions de Milan 2015 et de Port-au-Prince 1949, nous rappelons que cette pratique touristique du voyage d’agrément dans une grande ville remonte au XIXe siècle, elle accompagne les origines de notre tourisme moderne, tout en devenant un instrument de géopolitique et de marketing touristique de première importance pour les villes et les pays hôtes. Les expositions peuvent être considérées comme un levier urbanistique, mais aussi un moyen de faire voyager et de comprendre notre monde à travers un système de représentation des identités locales et mondiales proposant toujours une mise en valeur de la découverte scientifique et de l’expérience culturelle à travers les pavillons nationaux. Ces manifestations géantes reposent sur une mise en scène et en récit à partir d’un thème universel questionnant généralement le concept du développement durable et de l’attractivité touristique renouvelée de la destination. Notre analyse porte sur la plus récente des expositions universelles et une exposition oubliée appartenant à l’aire culturelle des caraïbes permettant de dégager trois dynamiques associant le tourisme de méga-événement et l’utopie des voyages initiatiques, à savoir : les expositions universelles se réinventent et retrouvent un certain succès de fréquentation impliquant une redéfinition des champs et des usages d’une utopie contrariée. Faire voyager est un acte à la fois scénographique et symbolique à travers le pavillon impliquant des artifices et des déclinaisons de plus en plus numériques, la quête de cette pratique durable du voyage se confronte à son héritage et à son souvenir à différentes échelles et temporalités. Through the recent and past universal exhibitions and more particularly the world’s fair of Milan 2015 and Port-au-Prince 1949, we recall that this tourist practice of the pleasure trip in a large city dates back to the XIXth century, it accompanies the origins of Our modern tourism, while becoming an instrument of geopolitics and tourist marketing of prime importance to cities and host countries. Exhibitions can be seen as an urban lever, but also a way to make travel and understand our world through a system of representation of local and global identities that always emphasizes scientific discovery and cultural experience through the national pavilion. These giant events are based on a staging and narrative based on a universal theme generally questioning the concept of sustainable development and the renewed attractiveness of the destination. Our analysis focuses on the most recent of the universal exhibitions and a forgotten exhibition belonging to the cultural area of the Caribbean, which reveals three dynamics associating mega-event tourism with the utopia of initiatory journeys, namely: reinvent and regain a certain success of frequentation implying a redefinition of the fields and uses of a disrupted utopia; to make travel is an act both scenographic and symbolic through the pavilion involving artifices and more and more digital declensions, the quest for this sustainable practice of travel is confronted with its heritage and its memory at different scales and temporalities. A través de las exposiciones universales recientes y pasados y, especialmente, la Feria de Milán en 2015 y Puerto Príncipe en 1949, recordamos que esta práctica de turismo de viaje de placer a una gran ciudad se remonta al siglo XIX, que acompaña a los orígenes de turismo moderno, mientras que convertirse en un instrumento geopolítico y comercialización del turismo de las principales ciudades y países anfitriones. Las exposiciones pueden considerarse una palanca urbana, sino también una manera de viajar y entender nuestro mundo a través de un sistema de representación de las identidades locales y globales que todavía ofrece el desarrollo de los descubrimientos científicos y la experiencia cultural a través pabellones nacionales. Estas manifestaciones gigantes basados en una puesta en escena y la narrativa de un tema universal en general, cuestionando el concepto de desarrollo sostenible y renovada atractivos turísticos del destino. Nuestro análisis se centra en las últimas exposiciones universales y una exposición olvidado que pertenecen a la zona cultural del Caribe para identificar tres dinámico entre el turismo mega-evento y la utopía de los viajes iniciáticos, a saber: las exposiciones universales reinventar y encontrar un cierto éxito de asistencia que implica una redefinición de campos y utiliza una utopía alterada, para viajar es un acto tanto teatral y simbólico a través del pabellón y declinaciones cada vez más digitales, las la búsqueda de este viaje práctica sostenible se enfrenta a su artificialidad y su memoria en diferentes escalas y marcos de tiempo. Index géographique : Europe, Caraïbes, Italie, Haïti, France, Milan, Port-au-Prince, New York, Osaka Mots-clés : exposition universelle, utopie, tourisme, architecture, urbanisme Palabras claves : expo, utopía, turismo, arquitectura, urbanismo Keywords : world’s fair, utopia, tourism, architecture, city-planning Patrice Ballester, Les expositions universelles, une utopie touristique toujours d’actualité ? World’s Fair, The Renew of Touristic Utopia? ¿Exposiciones universales, una utopía turística siempre de actualidad?, Études caribéennes 37-38, Août-Décembre 2017 Tourismes, voyages, utopies, pp.1-26.

MAILLOL ET APRÈS.
Colloque. Musée d'Orsay - Auditorium. Mardi 17 mai 2022
En lien avec l'exposition "Aristide Maillol (1861-1944). La quête de l'harmonie", 12 avril - 21 août 2022. Musée d'Orsay, Paris.

"Maillol et Orloff se sont exercés à l'illustration de livres d'art, à la gravure, à la peinture, à la céramique et à la tapisserie, avant de se consacrer à la sculpture. Dès 1900, Maillol se voue définitivement à la sculpture. Quant à Orloff, elle se dédie à la sculpture  les années 1920 face au succès de ses portraits sculptés. D'une part, ces deux artistes s'exercent au travail de différents matériaux et à différentes étapes, tels que le dessin, le modelage et la taille directe ou le coulage en bronze. Et d'autre part, ils réalisent des sujets "classique" : le portrait, la danse, mais surtout le nu. Le rapprochement entre leurs deux oeuvres sculptés se situe durant la période de l'entre-deux-guerres. De générations et d'origines diverses, les chemins artistiques - parcours, méthodes de travail, le volet pluridisciplinaires, les sujets et les moyens de diffusion - d'Aristide Maillol et de Chana Orloff s'entrecroisent et se rejoignent ; et c'est là que la filiation artistique se révèle."

19th Century Universal Exhibitions were essential opportunities for newly emerged countries to define a cultural identity. I explore in more depth here the architectural display of Greece, Serbia and Romania at 1889 Universal Exhibition in Paris.

ALBUM PHOTOGRAPHIQUE DE L’EXPOSITION INTERNATIONALE DE BARCELONE EN 1929
Suivi de cartes postales des années 1920/1936
On notera qu’à la page 104, on retrouve une carte postale de la Place des Armes du Parc de la Citadelle où le paysagiste français Jean-Claude Nicolas Forestier propose un aménagement paysager de l’espace public dans le cadre de l’embellissement de tous les espaces publics et parcs de Barcelone qui s’apprête à recevoir de nombreux visiteurs.
Année 1920/1926, à déterminer.

PHOTOGRAPHIC ALBUM OF THE INTERNATIONAL EXHIBITION OF BARCELONA IN 1929
With Postcard from the 1920s / 1936s
Note that on the page 104, there is a postcard from the Place des Armes in the Parc de la Citadelle where the French landscaper Jean-Claude Nicolas Forestier offers landscaping of public space as part of the beautification of all the public spaces and parks of Barcelona which is preparing to receive many visitors.
Year 1920/1926, to be determined.

EXTRAITS / EXTRACT’S
ALBUM FOTOGRAFICO, EXPOSICION INTERNACIONAL DE BARCELONA, 1929, CONCESIONES GRAFICAS, CORTES 596, BARCELONA.
1929 CONCESIONES GRÁFICAS, BCA 57 HUECOGRABADOS. ALBUM FOTOGRAFICO. 42X34 CM.
DALMAU OLIVERES S.A.
EL PRIMER TOMO, EXPOSICIÓN UNIVERSAL INTERNACIONAL BARCELONA MCMXXIX, CONSTA DE 56 FOTOGRAFÍAS Y 1 DOBLE.
PLACE D'ARMES, AVEC LA SCULPTURE DESCONSOL DE JOSEP LLIMONA  ET AU FOND, LE PARLEMENT DE CATALOGNE

In his comedy L’esposizione universale Luigi Squarzina imagines the possible effects of the Expo (which was to be held in 1942) on Rome and its inhabitants in the post-war period. Squarzina dwells on the architectural consequences by setting the events inside grandiose buildings in the style of ancient Rome: there is an evident attack on the imposing but sterile architecture that sought to express the Fascist state’s vocation for  modernity and imperialism. The comedy allows the author to dramatize the lives of people suffering and surviving against the odds, highlighting the tensions, myths, and crises of the time, and attacking both Fascism and its successors to the point that the work was blocked by the censors.

Artículo sobre la serie de relojes monumentales de péndulo cónico ideada por el relojero francés Eugène Farcot. Se estudia en detalle la unidad conservada en el Museo Cerralbo (Madrid, España).

Article in Spanish about the monumental conical pendulum clock series by the French clockmaker Eugène Farcot. It is described in detail the unit preserved in the Museo Cerralbo (Madrid, Spain).

International expositions began to gain popularity in late 19 th century, particularly in europe, and in time came to influence both architecture and urban planning, affecting their historical development. expositions serve as a means of displaying architecture, particularly since industrialization, and have an influence that can transform their surrounding metropolitan areas in different ways. These influenced areas extend way beyond their own scales, and even if they no longer exist today, and have the potential to transform the urban space in which they are located. This study analyses the case of the Great exhibition of 1851, in london, united Kingdom, which can be considered as the world's first international event, and which played a significant role in the transformation of the Kensington site. Although the exhibition space itself was temporary, it transformed the Kensington site on which it was located at an urban scale. This part of the london has changed following the ...

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Cet exposé se centre autour du texte "Les 3 étapes", un article paru dans Le Petit Parisien, le 15 avril 1900, sous le pseudonyme Jean FROLLO. Le texte en lui-même aborde l'exposition de 1900 comme l'aboutissement d'un processus de reconstruction de la France post-guerre de 1870, passant par les temps forts que sont l'exposition de 1878 et celle de 1889. J'ai pris le soin d'apporter sur chaque exposition des données extérieures, surtout concernant le déroulement et l'environnement des expositions.

Michelangelo Guggenheim and Decorative Arts.

The essay looks at the work of the famous Venetian antique dealer Moisè Michelangelo Guggenheim (1837-1914) in his role as entrepreneur and internationally successful designer of interiors and decorative art objects. It describes the origin of his carving workshop and its development in the "Stabilimento per le Arti decorative ed industriali", focusing on work organisation, promotion strategies and some objects created for prestigious clients, but also on his participation in numerous national and international exhibitions, interior designs for private and public historical buildings and for popular traditional Venetian events.

"Alberto Pasini, un orientalista italiano al Salon" in Pasini e l'Oriente. Luci e colori di terre lontane, exh. cat. Parma, Fondazione Magnani-Rocca, March 17 - July 1 2018, Paolo Serafini & Stefano Roffi (ed.), Milan, Silvana Editoriale, 2018, p. 43-49

Itinerari culturali e guida storica artistica dell'EUR.
L’area destinata a diventare sede del quartiere residenziale oggi chiamato EUR, era stata scelta fin dal 1936 quale luogo dell’Esposizione Universale di Roma, programmata per celebrare nel ‘42 il ventesimo anniversario della marcia su Roma e mai realizzata a causa dello scoppio della seconda guerra mondiale.

Estudo sobre a ideologia do progresso e sua relação com as Exposições Internacionais.  A participação do Brasil nas Exposições de 1862, 1908 e 1922.
Research on progress as an ideology and its relationship with International Exhibitions.  Brazil and the  Fairs of 1862, 1908 and 1922.

No século XIX, o setor corticeiro assumiu uma grande importância nas duas economias ibéricas, sendo um componente fundamental das exportações de Espanha e de Portugal. Simultaneamente, no contexto da industrialização do «mundo ocidental», surgiram grandes feiras de promoção económica, as exposições universais/internacionais. Este artigo aborda precisamente, em perspetiva comparada, a participação do setor corticeiro de Espanha e de Portugal em diferentes exposições universais/internacionais com início na segunda, a Exposição Universal de Paris, em 1857, até à Exposição Universal de St. Louis, em 1904. O objetivo é compreender se existiu um maior empenho de qualquer um dos Estados na promoção do respetivo setor corticeiro, visto que coube a estes a iniciativa de organizar a participação neste tipo de certames, bem como sublinhar se algum dos expositores, portugueses ou espanhóis, se destacou especialmente.

Aims and Scope

This book unravels the formation of the modern concept of cultural heritage by charting its colonial, postcolonial-nationalist and global trajectories. By bringing to light many unresearched dimensions of the twelfth-century Cambodian temple of Angkor Wat during its modern history, the study argues for a conceptual, connected history that unfolded within the transcultural interstices of European and Asian projects. With more than 1,400 black-and-white and colour illustrations of historic photographs, architectural plans and samples of public media, the monograph discusses the multiple lives of Angkor Wat over a 150-year-long period from the 1860s to the 2010s.

Volume 1 (Angkor in France) reconceptualises the Orientalist, French-colonial ‘discovery’ of the temple in the nineteenth century and brings to light the manifold strategies at play in its physical representations as plaster cast substitutes in museums and as hybrid pavilions in universal and colonial exhibitions in Marseille and Paris from 1867 to 1937.

Volume 2 (Angkor in Cambodia) covers, for the first time in this depth, the various on-site restoration efforts inside the ‘Archaeological Park of Angkor’ from 1907 until 1970, and the temple’s gradual canonisation as a symbol of national identity during Cambodia’s troublesome decolonisation (1953–89), from independence to Khmer Rouge terror and Vietnamese occupation, and, finally, as a global icon of UNESCO World Heritage since 1992 until today.

As a communication medium, the world's fairs of the 19th century were the contemporary equivalent of the present-day world wide web. Given their enormous attendance figures, which far exceeded the reach of all other media, the historical significance of international exhibitions can hardly be overstated. From the opening of the "Great Exhibition of the Works of Industry of All Nations" in London in May 1851 onward, large expositions were held periodically in almost all major cities. The aim was to present to an international audience a miniature version of the world that was as true to scale as possible, present only for a limited time at a clearly defined site within the ever-changing host city. This article gives an overview of the historical development of this 19th century mass- and meta-medium, describes its most significant forms, functions and effects, and discusses the extent to which world's fairs in Europe have decreased in impact since the beginning of the 20th century.

The article provides an overview of the Pleyel company during a fifty-year period, starting at the time of the 1855 Exposition Universelle in Paris and the death of the well-known piano maker Camille Pleyel. During this period, the famous French firm was directed by Auguste Wolff (from 1855 to 1887) and Gustave Lyon (from 1887 to the beginning of twentieth century). The entrepreneurial talents,  scientific abilities and musical skills of Pleyel’s two successors made this company the biggest and most innovative French piano producer of the second half of the nineteenth century. Both Wolff and Lyon played leading roles on the occasion of universal exhibitions in which they promoted their renowned pianos as well as many of their new inventions which are described in the article: the piano à double percussion, the piano-pédalier, the clavier transpositeur, the pédale tonale, the harpe éolienne, the new-designed clavecin, the piano-double, the harpe chromatique, the harpe-luth, the Pleyela.

Anche in: Storia della civiltà europea. Vol. 16 - il Novecento. Arti visive,  RCS Quotidiani - Special edition for Il Corriere della Sera, Milano 2008, ISBN: 9771828050157, pp. 517-522.

Dal mondo antico allʼinizio del terzo millennio: migliaia di saggi e oltre 10.000 immagini, un imponente corpus testuale e iconografico organizzato in periodi cronologici e in aree tematiche: storia, filosofia, arti visive, scienza e tecnologia, musica, letteratura e teatro, comunicazione. Unʼopera curata da Umberto Eco, che propone nuove modalità di esplorazione della storia e del sapere e che offre potenti strumenti capaci di intrecciare e collegare, grazie a percorsi dinamici, i personaggi, le idee e gli eventi che hanno formato la nostra cultura. Lʼidea di partenza di Umberto Eco è quella di realizzare unʼopera a carattere enciclopedico che aiuti ad avere il senso delle distanze storiche, a stabilire rapporti di contemporaneità tra eventi di natura diversa e che consenta di ricostruire fenomeni di lunga durata, dinamiche sociali e culturali, comportamenti della vita quotidiana. Il progetto della Storia della Civiltà Europea, nato nel 1993, antesignano di unʼeditoria multimediale di qualità, raggiunge solo il suo compimento editoriale e la sua maturità tecnologica, organizzando i propri contenuti in ogni formato disponibile per ogni tipo di pubblico.

Nel Novecento gli intrecci fra arte, politica, società hanno prodotto ribaltamenti, cancellazioni e rinascite di modelli artistici oscillanti fra la ricerca di un ordine nuovo e la fascinazione per l’irrazionale, fra l’assunzione dell’arte come strumento politico e il rigetto di ogni ideologia, fra la tensione a un’arte individuale e aristocratica o al contrario anonima e collettiva. Nella collisione di fine Ottocento fra tradizione e novità dirompenti cola a picco l’idea di continuità nella storia: il secolo si apre all’insegna della rottura e delle sperimentazioni più ardite in termini di linguaggio e di contenuti. Le avanguardie, tra cui si contano cubismo, espressionismo, futurismo, neoplasticismo e costruttivismo, alleate in un percorso di astrazione, tagliano traguardi che paiono senza ritorno: la cancellazione del soggetto, la forma come forma assoluta, la nuova preminenza del linguaggio, la negazione del racconto, l’esilio dei sentimenti, tutte conquiste che sanciscono il primato culturale dell’Europa. Finché nell’arco di alcuni decenni si verifica un capovolgimento di prospettiva col ritorno al figurativo e con lo spostamento del cuore culturale dall’Europa verso New York e Los Angeles, rimesso più tardi in discussione dall’emergere della nuova polarità dell’Asia. In questo ebook si possono trovare tutte le maggiori espressioni artistiche del Novecento, in cui l’ideale dell’arte subisce un progressivo spostamento verso il futuro, arrivando, nelle sue forme più estreme, a produrre un’arte internazionalista, senza radici e senza memoria, dotata di una lingua aniconica universale, che cancella i confini delle identità nazionali e si proietta nella realtà globalizzata.

Capítulo XVI del libro de Thomas J. Hutchinson (1873). Two years in Peru, with explorations of its antiquities [Dos años en el Perú, con indagaciones sobre sus antigüedades] (Vol. 1, pp. 331-343). Londres, Reino Unido: Sampson Low, Marston, Low, & Searle. Traducción: Daniel Vifian López y Rennzo Rojas Rupay. Notas a pie de página y «Nota introductoria» de la «Sección fuentes para el estudio del arte latinoamericano» por Daniel Vifian López.

Studio che analizza lo sviluppo dell'Art Déco e la sua diffusione negli Stati Uniti, in un'ottica che privilegia l'aspetto culturale del fenomeno in questione, ovvero il modo in cui esso abbia incarnato un preciso spettro degli ideali sociali e popolari di quegli anni.

The thesis analyzes the contribution of the buildings built for the World’s Fairs to the history of architecture structural typologies, defining these contributions, their importance and the fields where they're acknowledged, supporting the fact that these events have been Structural Experimentation Laboratories. The work focuses on typological and design aspects, ranging the period from the first World Fair held in 1851 to the year 2000. Numerous historical relations are established between Exhibition buildings and others besides these events, either precedents or sequels. This method places exhibition buildings in the technological context of their time and therefore proves justice to its value. The thesis not only aims to technical issues but also relates the structures of exhibition buildings to the different architectural trends based on technological exaltation or structural fantasy, taking also into account the main historical events in western world during the studied period. Additionally, there are many references to other un-built projects that took part in the several design competitions for these exhibitions that help to build up the idea of World’s Fairs as creative catalysts. The thorough documentary work and the rigorous analysis of all these documents delivers justice to the value of these buildings, otherwise in marginal consideration, and helps detect mistakes in classical publications on history of modern architecture. Also, this thesis reveals many written and graphic documents unpublished in contemporary editions.

La tesis analiza la aportación que han supuesto las estructuras de los edificios construidos con motivo de las Exposiciones Universales a la historia de las tipologías estructurales de edificación, determinando cuales han sido estas aportaciones, en que campos se han producido y su trascendencia histórica, fundamentando documentalmente el carácter de Laboratorio de Experimentación de Estructuras que han constituido estos acontecimientos. El trabajo se centra fundamentalmente en aspectos tipológicos y de diseño estructural, abarcando el período histórico comprendido entre la primera Exposición Universal, celebrada en 1851, y el año 2000. Se establecen relaciones históricas entre los edificios expositivos y otros ajenos a estos eventos, que han constituido antecedentes y secuelas de los mismos, metodología que permite el engranaje del edificio de exposición en el contexto tecnológico de cada época y, por tanto, su justa puesta en valor. La tesis no se centra únicamente en aspectos técnicos sino que también establece múltiples relaciones entre las estructuras de los edificios expositivos y determinadas corrientes arquitectónicas basadas en la exaltación tecnológica o en la fantasía estructural, valorando además la influencia de los principales acontecimientos del devenir histórico general del mundo Occidental en el período estudiado. Asimismo, se realizan numerosas referencias a proyectos no construidos, permitiendo apuntalar la idea de la Exposición Universal como catalizador de la creatividad estructural. El trabajo documental realizado y el análisis riguroso de dicha documentación han permitido poner en su justo valor algunos pabellones expositivos que han permanecido en una situación histórica marginal. La tesis saca a la luz abundante documentación tanto gráfica como escrita inédita en publicaciones contemporáneas.

This thesis is avaliable in hight resolución .pdf on the following links:
Esta tesis está disponible en .pdf de alta resolución en los siguientes enlaces:
http://openarchive.icomos.org/1705/
http://hdl.handle.net/2183/16523

At the 1937 Exposition Internationale des art et techniques dans la vie moderne in Paris the construction of national identity and the assertion of national prestige, always implicit within framework of the nineteenth century Expositions Universelles, took centre stage. The Nation was packaged as a neat social, economic and political entity for the consumption of an international audience. The aesthetic values of that package, the preference for certain idioms, architectural or otherwise, and the inclusion (or not) of overt political slogans, were all indicative of the style in which individual nations sought to project themselves. The national pavilions in Paris in 1937 then offer many examples of the way in which states, whether democratic or totalitarian, whether to the left or right of the political spectrum, conceived of and orchestrated the interrelations between text, image and space for propagandistic purpose. This paper takes as its focus the use of political symbolism and slogans (or their studied avoidance) within the pavilions of the major totalitarian powers, Germany and the Soviet Union, as well as the contribution of the country in which those nations were then vicariously waging war, namely Spain. The efficacy of each national pavilion in the dissemination of its message and/or the construction of a distinct identity is ultimately considered.

Les expositions universelles connaissent une vogue sans pareil au XIXe siècle et au début du XXe siècle. Les services administratifs chargés de leur mise en œuvre ont laissé des archives abondantes qui nous renseignent sur les multiples aspects de leur organisation, de la construction des bâtiments au choix des exposants et du recrutement du personnel à l’attribution des récompenses. Tel est le cas des archives des commissariats des expositions organisées par la France, conservées par les Archives  nationales. Dans ces fonds, on trouve une abondante documentation sous forme de photographies, technique alors d’invention récente. Au-delà du rôle illustratif ou anecdotique dans lequel il ne faut plus les cantonner, ces photographies sont source des renseignements multiples, à la fois sur le rôle que leur assigne l’administration et sur l’exposition elle-même.


The universal exhibitions were very popular in the XIXth century and the beginning of XXth. The governing bodies which had to plan them, left very extensive records which bring a lot of data about their organization, from the construction of the buildings to the choice of the exhibitors and from the recruitment of the staff to the attribution of the rewards. So it is with the records of French departments which planed the universal exhibitions in Paris, now in the National Archives (Paris). In these, one may found plenty of photographic documents, then a new technology. Moreover their interest as illustrations or anecdotes, these photographic documents bring many data as well about the part they play in administrative process as about the exhibitions themselves.

This paper explores the representation of capital — specifically agricultural capital — via architecture during the 1937 Paris International Exposition, by focusing on the Canadian pavilion at the foot of the Eiffel Tower and one building of the French Centre rural (Rural Centre) at the western edge of Paris at Porte Maillot.  Capital has historically encompassed a wide range of items, especially in agriculture, extending from finance — both fixed capital and investment — to a more grounded and open-ended signification that has included production processes, climate and the actual assets on a farm: livestock, plantations, land, buildings, machinery and equipment. Although both buildings drew on the common building type of a grain elevator, I argue that they did so in distinctly different ways and thereby represented different moments of capital speculation and displacement; namely the two different stages of capitalist flow, production and consumption, as Michel de Certeau analyzed them in The Practice of Everyday Life (1988). The Canadian grain elevator was artistic and aesthetic in nature, whereas the French structure was an accurate replica of a contemporary type. Considered together the Canadian pavilion and French grain elevator are two different representations of agricultural capital in the late 1930s; the latter, a modernist and functionalist image of a technocratic nature, the former, a nationally-connotated shape of a deeply emotional value.

André Leroi-Gourhan’s colonial ethnological collection in Lyon: from 1894 Lyon World Exhibition to Jean Moulin University

Jean Moulin University beholds a collection of 300 tools, weapons and daily life objects from Africa, Far East and America dated of the end of 19th century. Some recent investigations into several series of archives (Archives Municipales de Lyon, Archives de la Chambre de Commerce de Lyon, Centre de Documentation du Musée des Tissus de Lyon) have provided some hints of the history of this “colonial” collection. It was gathered in order to adorn colonial mansions in various world exhibitions and especially in the one in Lyon in 1894; then it was preserved in the Musée colonial of the Chambre de Commerce et d’Industrie de Lyon, but it was scattered when the museum was closed in 1947. Part of the collection was then offered to the Faculté des Lettres de Lyon, on request of André Leroi-Gourhan who was teaching colonial ethnology. Abandoned and vandalized for a long time, the collection —which first amounted about to 1500 pieces— had been loosing much of its substance until one of us (SAB) was appointed at the University. She decided to propose students, especially Sandra Vaillant, to classify and identify these objects, and to reconstitute their itinerary.

In the Exposición Iberoamericana –the Ibero-American Exposition– of Seville, in 1929-1930, an interesting colonial exhibition was organized that has been hitherto unstudied. It was arranged in two sections: the Spanish protectorate of Morocco and Spanish Guinea. The present paper describes both colonial pavilions and the products and collections displayed there, and it compares this exposition to contemporary similar events. We will analyse the two different exhibitory models adopted by the Spanish administration in regard to each colonial territory, models which also include the “exhibition” of Guinean and Moroccan natives. Finally, we will see how the exposition suggests the limitations of each of these processes of colonization as well as the impossibility of articulating a new model of Hispanic-African imperialism.

Lo studio si concentra sulla figura di Moisè Michelangelo Guggenheim (Venezia, 1837 - ivi, 1914), ne approfondisce le vicende biografiche e le molteplici attività, che spaziarono dal commercio di opere e oggetti antichi e moderni, al collezionismo, all'imprenditoria, alla progettazione di allestimenti e manufatti d'arte decorativa, alla promozione dell'istruzione artistico-industriale, e tratta della sua opera nella veste di conoscitore, storico, consulente, perito, informatore, intermediario, mecenate, filantropo e politico. Monografia, questa, introdotta da un'indagine sul mercato di opere, di oggetti d'arte e d'antichità a Venezia nell'Ottocento – con particolare attenzione alla seconda metà del secolo – e nel primo Novecento. Il lavoro dimostra sia la centralità di Michelangelo Guggenheim, assurto a stereotipo dell'antiquario veneziano, sia la rilevanza di Venezia, nel mercato artistico nazionale ed internazionale dell'epoca. Download link: https://air.uniud.it/handle/11390/1132920?mode=full.481#record

El libro aborda la participación de Chile en la Exposición Iberoamericana de Sevilla de 1929, analizando la forma en que la idea de "lo chileno" fue definida y escenificada en dicha ocasión por los encargados de la representación nacional. Para ello, se profundiza en las discusiones acerca de cómo debía ser representado el país y se estudia la forma en que dichos discursos fueron simbolizados a través de soportes visuales y materiales, tales como la arquitectura del pabellón, los muestrarios exhibidos y las publicaciones oficiales. Se identifican tres relatos centrales en la representación del país: la idea de Chile como una nación de "progreso"; la insistencia en diferenciarse de sus pares latinoamericanos ("tropicales") enfatizando el clima frío del país; y la apuesta de dar a conocer el "alma nacional" exhibiendo las culturas indígenas y populares.

Depuis que la Puissance du Canada a été constituée, elle a participé à de nombreuses Expositions internationales, en Europe comme en Amérique. Promouvoir les produits canadiens, stimuler l’économie et la démographie canadiennes, tels sont les objectifs prioritaires traditionnellement choisis par Ottawa dans le cadre de sa participation, malgré les difficultés engendrées par ses liens avec la puissance britannique.
En 1900, le Canada participe à l’Exposition universelle internationale de Paris. Encore dépendant de la Grande-Bretagne, le Canada expose ses produits dans un pavillon installé dans les jardins du Trocadéro. Ainsi, le Dominion figure sur l’itinéraire du voyage fictif à travers le monde que rend possible l’Exposition internationale, sans sortir de Paris.
La participation canadienne en 1900 s’inscrit dans le mouvement d’émancipation du Dominion et, dans le regard des visiteurs, permet d’estomper ses arpents de neige à la faveur de son potentiel agricole, industriel et touristique.

The popular or conventional notion of Klimt as a rebel and/or trendsetter who threw caution to the wind with his unique artistic style in the then-conservative Viennese society is just a partial truth. Klimt, the saviour of Austrian art and the father of the Secession, who pulled stagnant Viennese taste from sinking into a mire of old convention and elevated it onto a pedestal where it stood on par with the rest of the world, certainly existed but he was a later evolution.

A few factors that had a huge impact on Klimt and his early work are analysed herein: the rather insular character of fin-de-siècle, Viennese art and the art market which was dominated by the almost cultic figure of Makart and finally the importance of mimesis in the works of the Klimt brothers and Franz Matsch who worked together and formed the Kunstlercompagnie.

(In French further below)

In both World Wars of the 20th century, the French and Americans fought side by side, against a common enemy. In the decade leading up to both wars, the USA held an international exposition in which the French took part.
The French participated in both the 1915 Panama-Pacific International Exposition in San Francisco and the 1939 World’s Fair in New York, but little is remembered of either. Why? Were the exhibits too small or conservative in the middle of a global avant-garde? How did the American people regard these French contributions?
A brief analysis of the aims of the French commissioners for both the 1915 and 1939 world fairs, along with a review of the actual paintings exhibited in the San Francisco and New York expositions, and the resulting press coverage could help identify and understand early reasons for the shift of the cultural capital from Paris to New York.

Au cours des deux guerres mondiales qui ont marqué l'histoire de l'humanité au XXe siècle, les Français et les Américains ont combattu ensemble contre l'adversité. Pendant la décennie précédant chacun de ces conflits, les Etats-Unis ont été le pays hôte d'Expositions internationales et universelles auxquelles la France a systématiquement contribué.
La participation artistique de la France aux Expositions internationales de 1915 à San Francisco (Panama-Pacific International Exposition) et de 1939 à New York (New York World's Fair) est mal connue. Pour quelles raisons ? Insignifiance quantitative ? Conservatisme anachronique au milieu d’un avant-gardisme généralisé ? Quel regard les Américains ont-ils porté sur la participation artistique de la France ?
Une brève analyse des objectifs des commissaires français lors des deux Expositions considérées et du contenu pictural des participations artistiques françaises, et l'étude de leur réception critique par la presse américaine doivent permettre de comprendre le regard que portent les Etats-Unis sur la France, au moins dans sa dimension culturelle. Il sera peut-être possible d'entrevoir, à la faveur d'une perception banalisante de la création picturale française, des signes du glissement de l'activité artistique vers le Nouveau continent, Paris transmettant, malgré elle, les armes de capitale des arts à New York.