International Exhibition Research Articles

Spanish informalist art exhibitions in the Federal Republic of Germany, 1960

ABSTRACT This article explores the international reception of Spanish Informalism during the years of aperturismo, when this artistic trend was chosen to represent the Franco dictatorship at international art exhibitions and biennials. In contrast to the readings that study this phenomenon as a strategy of cultural diplomacy, the aim here is to pay attention to the local contexts where the Informalist avant-garde was exhibited, in order to analyse the ways in which the work of Spanish artists was re-signified when it came into contact with geographically situated curators, critics and audiences who had their own agency. Taking the example of the Federal Republic of Germany as a case study, this article examines a series of exhibitions that arose from private initiative in 1960, basing mostly on periodical and primary sources from the archives of the institutions that hosted the exhibitions.

Copyist or Creative? The Emergence of the Woman Fashion Artist in Britain, 1880–1920

Abstract The period between 1880 and 1914 was a critical time for the redefinition of high fashion as a form of art, with couture garments displayed at international exhibitions and couturiers like Paul Poiret claiming the legal protection applied to artworks for his fashion designs. At the same time, a massive expansion in illustrated journals and catalogs selling mass-produced garments offered new possibilities for graphic artists, including women trained in the applied arts by public and private colleges. These trends intersected in the figure of the female “fashion artist,” who conceived new designs or presented them to the public—but did not stitch them. In some cases, this person was a designer working for a dressmaking firm or sample house, while others were copyists of existing garments. This article will analyze surviving documents produced by British women fashion artists; examine the life cycle of fashion artists, as revealed in census data; analyze the pathways for training and career development; and consider the ways in which fashion artists were discussed in women’s magazines, both as role models for employment and as fashion mediators.

Н.И. Воробьев и Центральный музей Татарской республики (1923–1930 гг.)

N.I. Vorobyev headed the TASSR Central Museum during the formation period of the new museum practices, when the right decisions came with experience and the main task was to develop a new structure of the institution. As the museum director, the young scholar dealt with a large number of administrative issues and difficulties, from budget and personnel shortage to elimination of external threats caused by the low level of security of museum collections. The acute shortage of funds was reflected in everything: the museum could not occupy all the areas allocated by the state, there were no more than three people in the staff of departments, the tasks of purchasing exhibits and planned acquisitions were barely fulfilled. However, at the same time, as part of preparation for exhibitions, ethnographic expeditions to many cantons of the republic were organised under the leadership of N. Vorobyev. During the expeditions, significant materials that document the culture and traditions of the peoples of the region, household items and crafts were collected, as well as a large number of photographs were taken. As a result of this work, the museum was able to adequately represent the Tatar Republic at large-scale All-Union exhibitions in Moscow in 1923 and 1927 and at the international exhibition in Paris in 1925. The public warmly welcomed the Tatrepublic sections at the exhibitions; upon the exhibitions closure, the objects replenished the museum funds. In conditions of limited funding, lack of space capacity and limited number of staff, under Vorobyev’s leadership, the museum laid down the functioning principles, which would serve as the basis of its work in the following decades. Combining museum work with his academic career, Nikolay Vorobyev left the museum during the period when full supervision of the state was being established over the institution. He left not just a museum, but also an academic institution where research work was constantly carried out.

VI Tournament of Architectural Graphics “Line of Thought” 2024

On 23 May 2024, the VI Tournament of Architectural Graphics “Line of Thought”, established by the Iakov Chernikhov International Foundation in 2018, was held within the framework of the XXIX International Exhibition of Architecture and Design ARCH MOSCOW. The aim of the Tournament is to support the art of hand-made graphics. The prize is a Silver Stylus.

Sir William Burrell: An Artful Politician

This article discusses the political career of Sir William Burrell (1861–1958) as a Conservative party councillor for Glasgow's Exchange ward (1899–1906) and focuses on the years 1899–1901, in three overlapping arenas: the 1899 municipal elections in which Burrell began his career; Glasgow's civic and business status as the second city of the British empire; and the 1901 international exhibition. By examining Burrell as a skilful operator in all three contexts simultaneously, this article presents him for the first time not only as a powerful Glaswegian businessman who collected art, but also as an adroit politician who exploited both his business success and his curatorial expertise for the benefit of the Conservative and Liberal Unionist cause in the city. His administration and curation of the international exhibition in the new Kelvingrove galleries allowed the dominant Unionist group to present itself to millions of visitors. Burrell's art collection is thus demonstrated to be an important political source.

Imperatives Under Chinese Monochrome Art: Revisiting “Magiciens de la Terre”

“Les Magiciens de la Terre” has long been hailed as the first international contemporary art exhibition including both artists from Europe, Africa, Tibet, China, and other non-western places. Yang Jiechang, Gu Dexin, and Huang Yong Ping were the only three Chinese artists to participate in this exhibition. They made their debuts in front of unfamiliar overseas audiences, in which their art practices were rearranged, and Yang started his familiar series of “100 Layers of Ink.” My paper shifts the attention away from the single monochrome artwork of Yang’s 100 Layers of Ink at the Smart Museum, recenters it on the original context of the inception of this series at “Les Magiciens de la Terre,” and examines the general imperatives of those three artists’ first debuts — “distinct originality” and “being well-prepared.” The heightening emphasis on originality had already surfaced on the contemporary Chinese art scene and culminated in the curatorial plan of the exhibition’s curator, Jean-Hubert Martin. On the other hand, because of the importance of the debuts, “being well-prepared” underlined every aspect of their art-making for the exhibition, including enlarging scales, complicating the artistic concepts, and increasing working time. All those factors contributed to the sudden shifts in their art practices and shed new light on the imperatives under Yang’s monochrome art and his reflections on colors.

Klid před bouří. Špálova Otava jako šťastný průnik umělcovy osobní historie a národních dějin

The interwar work of Václav Špála is considered to be the essence of the “national art” of the First Czechoslovak Republic. Its emblematic manifestation is the extensive series depicting the Otava River from 1929 and 1930. The paper focuses on the painting On the Otava River (1929) from the collection of the Gallery of Fine Arts in Cheb. It has an exceptional position within it, both in terms of its formal qualities and overall concept. Špála himself was aware of this and never sold it, and the painting was acquired by the Cheb gallery in 1966 from his estate. The uniqueness of the painting is also underlined by its exhibition history: in 1937, Václav Nebeský selected it for the accompanying exhibition to EXPO 37 in Paris, L’art moderne tchécoslovaque at the Charpentier Gallery, twenty years later it was one of only five works representing Czechoslovakia at the international exhibition 50 Years of Modern Art at EXPO 58 in Brussels, together with the works of Emil Filla, František Kupka, Josef Šíma and Otto Gutfreund.

The Drunken Satyr from the Villa dei Papiri at Herculaneum

Prior to the international loan exhibition Buried by Vesuvius: Treasures from the Villa dei Papiri at the Getty Villa in Los Angeles (26 June – 28 October 2019), the Museo Archeologico Nazionale di Napoli (MANN) generously lent the ancient bronze statue of a Drunken Satyr for study, analysis, and conservation. Discovered in pieces in tunnels excavated through what has come to be recognized in the outer peristyle garden of the Villa dei Papiri at Herculaneum on July 10, 1754 and restored in 1759 at the Royal Foundry at Portici, the Drunken Satyr was praised as one of the most beautiful bronze statues to survive from antiquity. This paper provides an overview of its history and presents the results of recent study, analysis, and treatment that shed greater light on the techniques of the statue’s ancient manufacture and its alteration and state of preservation at the time of recovery. It also addresses the nature and extent of the post-antique restorations that can be identified and their ramifications on the statue’s appearance. These collective findings allow for a more comprehensive understanding of the Drunken Satyr.

Legal analysis of the risks in art exhibition contracts from the perspective of international law

International art exhibitions can lead to disputes between multiple parties due to their transnational and complex nature, unlike domestic art exhibitions. The “Kiefer” Chinese painting exhibition triggered a series of controversies that should not be overlooked. Professionals in the art industry should reflect on these controversies to gain insights and promote the development of the field. This article focuses on the “Kiefer” incident to discuss the major risk points in the international art exhibition process. The article is divided into three parts. The first part concerns the selection and application of the law, where parties must carefully consider which laws and international rules to apply. The second part addresses the nature of the contract and liability, examining how the applicable law affects the legal nature of the contract and the obligations of the parties involved. The third part deals with unauthorized disposition and judicial seizure, focusing on issues of good faith acquisition when a party receiving artwork illegally disposes of it without the owner’s permission, as well as the problem of judicial seizure and immunity from judicial seizure of artworks (including cultural relics) involved in litigation.

International exhibition project “Kullu — the silver valley of the Roerichs”: conceptual foundations

International exhibition project “Kullu — the silver valley of the Roerichs”: conceptual foundations

Стратегическая сессия «Приоритеты развития студенческого спорта в Российской Федерации до 2030 года» (Москва, 19 апреля 2024 года)

The report on the results of the strategic session “Priorities for the development of student sports in the Russian Federation until 2030”, which was held within the framework of the International Exhibition and Forum “Russia” by ITMO University with the support of the Ministry of Education and Science of Russia, is presented.

The British Art Section of the 1906–1907 New Zealand International Exhibition: Its Complexities and Contributions to New Zealand’s Art History

The British Art Section of the 1906–7 New Zealand International Exhibition in Christchurch remains the largest exhibition of British art in New Zealand history. However, its cultural impact has been little explored in art history scholarship. This article addresses contrasting interpretations of the section by examining its origins, purchases and legacies, reconsidering and recontextualising previous analysis by art historians Linda Tyler and Warren Feeney. The success of the section neither devastated nor revitalised the work of local artists, but instead reinforced the continued importance of purchasing British art for New Zealand and the pivotal role it played in shaping this country’s nascent art collections.

Exhibiting slavery in Australia: Personal narratives and legacies

AbstractThe history of slavery has often been located on the same continuum as that of incarceration. This article explores the development of an exhibition representing the legacies of slavery in Australia, analysing Australian and international exhibitions alongside theories of museology, historiography and memory. It begins by considering the growth of slavery memory since the latter twentieth century, and Australia's own slavery heritage. The second half of the article focuses on curatorial directions and decisions taken in the exhibition, which our research team is currently developing in partnership with the Australian National Maritime Museum as part of an Australian Research Council project. Much of the project's research to date has been biographical, investigating the lives of individual slavers and colonists to explore colonial and racial frameworks still underpinning contemporary Australia. For the exhibition, we are investigating ways of expanding the scope to represent the lives and experiences of enslaved individuals. We are also exploring the challenges of retracing past lives, the potential limits of empathy, and the politics of ownership when telling stories about the past. This includes considering community participation, the biases and silences of the archives, and the use of art in representing the past.

Туристичний ринок України в часи війни: проблеми, загрози, можливості

The article examines the impact of war on Ukraine's tourism market due to globalization and integration processes. The article discusses in detail the problems and opportunities that arise in the context of modern challenges. In Ukraine, where hostilities continue, the tourism industry has faced unprecedented challenges, which have resulted in a significant drop in arrivals and a reduction in domestic tourist flows. The tourism industry has also a ban on air transportation, the closure of many tourist and hotel enterprises, the destruction or transformation of hotels into temporary shelters, personnel shortages, and a general decrease in income from tourism. Because of these aspects, investigating the challenges in Ukraine's tourism market is relevant and necessary to determine effective strategies for the industry's development. These strategies should further contribute to the economic growth and social welfare of the country. The article presents the results of surveys that demonstrate the accessibility of travel for domestic tourists and their motivation. The main reasons for refusing to travel are security and economic factors. Ukrainians prefer seasonal summer vacations in cities and hiking. Priority is given to event, gastronomic, active, and ecological tourism. The impact of hostilities has also resulted in some adaptation and search for new opportunities for the tourism industry. New tourist destinations, such as military tourism and "memory tourism," began to develop actively in Ukraine. Developing such tourism as agritourism and cultural and historical tourism in safe regions, can help to diversify the tourist offer and reduce the economic impact of a decrease in international tourist flow. It also contributes to the development of local economies and the creation of new jobs, which is critical in crisis. It is recommended to strengthen efforts in the field of international PR to improve Ukraine's image in the world. This includes participation in international tourism exhibitions, online marketing campaigns, and cooperation with international leaders of thoughts who can change the perception of Ukraine as a tourist destination. Tourism operators and local authorities should work together to develop and implement emergency response plans that will help them quickly adapt to changes in the security situation. Implementing these strategies will require strong coordination among all stakeholders, including government, the private sector, and international partners.

International Exhibitions of Architecture and Selective Cross-Histories

A review of Helen Thomas, ed. Architecture in Islamic Countries: Selections from the Catalogue for the Second International Exhibition of Architecture Venice, 1982/83. Zürich: gta Verlag, 2022, 120 pages, 55 illus. ISBN 978-3-85676-436-4. Gta Verlag’s 2022 reissue of the 1982–83 Venice Biennale Architecture in Islamic Countries catalogue is a timely invitation to reevaluate its history. This review assesses both the new catalogue’s original content and the newly commissioned essays, highlighting criticisms of Pier Paolo Porteghesi’s curatorial approach, primarily driven by a postmodernist methodology rather than a decolonization commitment. Its significance notwithstanding, the new catalogue replicates some of the original’s limitations in thoroughly engaging with the Islamic world’s architectural cultures during the 1980s, reflecting ongoing challenges in integrating these histories into Western-dominated architectural discourse.

“The Corner Case Contains an Arctic Scene”

Following examples such as The Arctic and the British Imagination by David and Imagining the Arctic by Lewis-Jones this work focuses on the changing interpretations of the idea of the Arctic as it follows the interpretation of a taxidermied polar bear over approximately sixty years in three different exhibitions. Beginning in the 1880s this polar bear represented the resources available in the Arctic at international exhibitions. When the polar bear entered the Horniman Free Museum (London) in 1890 the interpretation changed to represent the wildlife of the Arctic in an “Arctic Scene”. Finally, in the twentieth century, the polar bear’s interpretation changed again to stress the evolutionary differences between large mammals, specifically those of the Arctic. Although the museum sold the polar bear in 1948, the analysis of this object in these institutions presents a model for understanding the construction and colonial interpretations of the Arctic in the late nineteenth and early twentieth centuries.

The art of resisting mega-event amnesia: reconstructing urban memory post-expo in Sydney and Brisbane

This article examines the work of ‘image construction’ and ‘memory reconstruction’ by focusing on World Expos held in Sydney and Brisbane, Australia. We argue the construction of urban imaginaries through triumphal narratives induces a form of mega-event amnesia: the erasure from collective memory of communities and cultural artefacts, and the suppression of protest and resistance against these events. We then show how art can be used as a form of ‘memory reconstruction’. Two case studies offer alternative narratives in the form of public art and archival media. The first case forges new storylines that remember Aboriginal culture and language through a major public art project in the heart of Sydney. The second discusses how a digitised archival film made by feminist filmmakers spotlights decades of disregard for the destruction of Brisbane’s working-class inner-city fabric when made accessible to new audiences. These alternative narratives reconstruct the memory of the 1879 Sydney International Exhibition and Brisbane’s World Expo 88 to show how art may be used to awaken urban memories and collective remembrance. Alternative narratives also breathe new life into the complex and contested histories of mega-events. While protest and ‘the art of dissent’ have been widely discussed regarding the Olympics, few scholars have considered their relationship to World Expos. Fewer still have considered how art reconstructs and reinterprets mega-events decades after they were held.

Sleep Disturbance Caused by Step Changes in Railway Noise Exposure and Earthquakes.

Kyushu Shinkansen and conventional railway lines run parallel in the areas 5 km north of Kumamoto Station (northern area) and 12 km south of the station (southern area). Following the operation of the Kyushu Shinkansen Line in 2011, the adjacent conventional railway line in the north was elevated, a new station was operated in the south, and large earthquakes struck the Kumamoto area from March to April 2016. Sleep disturbances were compared before and after the interventions and earthquakes based on noise source (Shinkansen and conventional railways), area (northern and southern), and house type (detached and apartment) through socio-acoustic surveys from 2011 to 2017. The Shinkansen railway caused significantly less sleep disturbances in detached houses in the north after compared to before the earthquakes, presumably due to more frequent closures of bedroom windows in northern detached houses following the earthquakes. The Shinkansen railway caused significantly more sleep disturbances in apartments in the south after compared to before the earthquakes, presumably because the Shinkansen slowed down immediately after the earthquakes and returned to normal speed during the survey, suddenly increasing the noise exposure. There was no significant difference in the other six cases investigated. Overall, the interventions may not have caused significant differences in sleep disturbances. This article expands on the congress paper by Morihara et al. presented in the "Community Response to Noise" session at the 52nd International Congress and Exhibition on Noise Control Engineering in Makuhari, Japan, organized by the International Institute of Noise Control Engineering.

CARS 2024-Computer Assisted Radiology and Surgery Proceedings of the 38th International Congress and Exhibition Barcelona, Spain, June 18-21, 2024.

CARS 2024-Computer Assisted Radiology and Surgery Proceedings of the 38th International Congress and Exhibition Barcelona, Spain, June 18-21, 2024.

Colombian Pavilions. Showcases of Nature Between 1851 and 2015

This article compiles Colombia's participation in universal and international exhibitions to uncover a specific, fragmented, and lesser-known genealogy of national architectural history. By conceptualizing container and content as integral to the same narrative, this study analyzes forms, objects, and texts that reference the natural landscape of the homeland as an alternative approach to the predominant chronological, stylistic, or technological studies within this typology. The proposed categorization of these ephemeral showcases, based on enduring anthropological discourses on nature, offers an alternative pedagogical resource and dissemination method that encourages transdisciplinary and performative interpretations, opening new avenues of exploration within the discipline.