CFP: World Fairs and International Exhibitions 1851-1940 (Amsterdam 03/18)

World Fairs and International Exhibitions: National Self-Profiling in an International Context, 1851-1940

Study Platform on Interlocking Nationalisms, University of Amsterdam; Leiden University

08.03.2018-09.03.2018, Amsterdam
Deadline: 30.11.2017

Probably the most important global stage for learning how to represent a national identity was the world fair. These grandiose international exhibitions emerged during the decades of post-1848 nationalism – which also saw the rise of mass tourism – and formed part of the panoramatic “spectacle of modernity” that dominatedall mass-oriented representations of landscapes and societies in these decades. At the first Great Exhibition of the Works of Industry of All Nations in 1851 all participating countries had their own section in London’s Crystal Palace to show their contribution to human progress. However, it was difficult to be distinctive with machines, inventions and fine arts, which look quite similar everywhere. Therefore, at the Paris Exposition Universelle of 1867 each participating country was invited to also erect a pavilion in a characteristic national style to exhibit its own “authentic” culture. These national pavilions became an integral part of subsequent international exhibitions, and world fairs became an international platform for showcasing a country’s distinctive characteristics.

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CFP: Rivista MDCCC 1800 n. 6 – Arts on display: the 19th century international expositions

Call for Papers: International on-line scientific peer reviewed journal MDCCC 1800 [Italian text below]

Deadline for abstracts: 12 October 2016.

Deadline for submission of papers: 30 December 2016.

Arts on display: the 19th century international expositions.

The international online peer reviewed journal MDCCC1800 wishes to celebrate the 150th anniversary of the Exposition universelle held in Paris in 1867 with an issue dedicated to the phenomenon of the international exhibitions set up during the 19th century. We welcome original, unpublished articles offering in-depth analysis of the developments, significance and legacy of this phenomenon starting from the Universal Exhibition of London (1851).

Contributors are free to propose any topic related to the general theme, such as the study of single national participations, the impact of the events on public opinion, the display architectures, the diffusion of decorative arts and photography etc.

A list of suggested topics, by no means exhaustive, includes:

  • The national participation to the events (committees, single artists, works of art)
  • The art market: private collectors and museum acquisitions
  • The divulgation of the arts: publicity, magazines, exhibitions catalogues
  • The social and pedagogical role of international exhibitions
  • Architecture, outfitting, national pavilions
  • The use of decorative arts and photography at the events
  • Colonialism and the influence and reception of non-European cultures
  • Literature and the arts: the narration of the exhibitions
  • Correspondence (relationships among artists, architects, art critics etc)
  • The role played by the Antiquities at the exhibitions (as models for inspiring artists; means for showing prestige; physical emblems for the building of identity; political propaganda etc)

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