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Journal articles on the topic 'Cultural relations – History – Exhibitions'

Author: Grafiati

Published: 26 July 2024

Last updated: 31 July 2025

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1

Juříčková, Miluše. "Two Art Exhibitions as Dialogic Events in the History of Czech-Norwegian Cultural Relations." AUC PHILOLOGICA 2021, no. 1 (2021): 121–27. http://dx.doi.org/10.14712/24646830.2021.16.

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The article analyses two art exhibitions in the context of Czech-Norwegian relations, presenting both the Czechoslovak book exhibition in Oslo (1937) and the Norwegian painting and applied art exhibition in Prague (1938) as important parts in a bilateral cultural dialogue. The promising initial communication in form of a mutual information exchange was soon disrupted by the beginning of World War II and post-war politics.

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Muñoz, Pedro Felipe, and Stefan Rinke. "Latin America in the global exchange of the German Hygiene Museum in Dresden (1919-1930)." Revista Tempo e Argumento 14, no. 35 (2022): e0104. http://dx.doi.org/10.5965/2175180314352022e0104.

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In 1912, Karl Lingner created the German Hygiene Museum Dresden profiting from the Dresden International Hygiene Exhibition 1911. Lingner aimed to build a permanent building for the museum, but due to the Great War and post-war economic crisis in Germany, the permanent building was not opened until 1930. In the Weimar Republic, the museum circulated internationally through traveling exhibitions and the sale and donation of collections and exhibits. This circulation comprised a global exchange promoting health education that included Latin America. In keeping with German foreign cultural policy

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Falcucci, Beatrice. "European museology and colonial concord: Italy at the 1934 Expo du Sahara in Paris." Modern Italy 27, no. 3 (2022): 239–58. http://dx.doi.org/10.1017/mit.2022.24.

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AbstractThis article assesses Italy's participation in the Expo du Sahara in Paris in 1934, placing it within the framework of European colonial culture, exhibitions, and international relations during the 1930s. Hitherto, the Expo du Sahara has been largely ignored by historiography, but it offers important insights into Italo-French relations in the years immediately preceding Italy's invasion of Ethiopia, as well as the ways in which Fascist Italy sought national and international legitimacy through the medium of exhibitions. The Paris exhibition, staged by the European powers after years o

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Počs, Kārlis. "A VIEW ON THE HISTORY OF LATVIAN-FRENCH CULTURAL RELATIONS BEFORE WORLD WAR II." Via Latgalica, no. 1 (December 31, 2008): 75. http://dx.doi.org/10.17770/latg2008.1.1598.

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Because of the geographic location of the Latvian and the French nations and of different trends in the development of their histories contacts between them were established relatively late. This in turn slowed down the development of their cultural relations. In this development, we can distinguish two stages: before the formation of the Latvian state (from the second half of the 19th century until 1918), and during the Latvian state until the Soviet occupation (1920–1940). The objective of this paper is to determine the place and the role of the Latvian-French cultural relations in the devel

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Kossowska, Irena. "Cultural Diplomacy and Informal Artistic Relations in East Central Europe in the 20th Century: A Global Perspective." Arts 14, no. 2 (2025): 41. https://doi.org/10.3390/arts14020041.

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The contributors to this Special Issue engage in a critical debate on key questions arising from discourses on the history and socio-political foundations of international traveling art exhibitions and cultural exchange [...]

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Lorenc, Magdalena. "„Obok. Polska – Niemcy. 1000 lat historii w sztuce” jako przykład wystawy politycznej." Przegląd Politologiczny, no. 2 (June 19, 2018): 163–76. http://dx.doi.org/10.14746/pp.2013.18.2.14.

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The objective of the paper is to analyze and assess the institutional conditions of the exhibition entitled Side by Side. Poland – Germany. 1000 years of Art and History, organized in Martin-Gropius-Bau in Berlin between September 23, 2011 and January 9, 2012. In terms of the number of works of art presented this undertaking was unprecedented in the history of Polish- German relations. The exhibition, and the catalogue that accompanied it, were a part of the Cultural Program of the Polish Presidency in the EU Council in 2011, becoming an exemplification of the issue of the politicization of ex

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Ainutdinov, A. S. "Sverdlovsk Artists at Post-War Art Exhibitions, 1946–1952." Art & Culture Studies, no. 1 (February 2022): 164–95. http://dx.doi.org/10.51678/2226-0072-2022-1-164-195.

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The article is devoted to studying various aspects of the exhibition process in the post-war Sverdlovsk. For the first time in the Ural art history, the art exhibitions that were held after the Great Patriotic War and had works by Sverdlovsk visual artists on display, are named, described, systematized, and classified in one research. The new data sources used in the research uncover the reasons behind the low levels of participation of Sverdlovsk painters, sculptors, and graphic artists in the All-Soviet and national exhibitions in 1946–1952. When performing the research task, the author achi

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Хертек, А. С. "Tuva and Mongolia: cooperation in the fine arts." Iskusstvo Evrazii [The Art of Eurasia], no. 3(22) (September 30, 2021): 116–25. http://dx.doi.org/10.46748/arteuras.2021.03.010.

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Статья посвящена культурным связям между Республикой Тыва и Монголией в связи со 100-летием российско-монгольских дипломатических отношений. Автор приводит обзор ряда фактов из истории тувинского и монгольского изобразительного искусства, совместных выставочных проектов. Так, ключевыми событиями, повлиявшими на творчество мастеров, стали первая крупная выставка тувинских художников и Нади Рушевой в Монгольской Народной Республике в 1984 году, другие выставки в Монголии, Москве и Туве, групповые обменные поездки монгольских и тувинских художников в XX–XXI веках. Важными для сотрудничества стали

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Petranský, Ivan A. "Miesto histórie vo vývoji kultúrnych vzťahov medzi Československom a Talianskom v rokoch 1948 – 1989." Kultúrne dejiny 15, no. 1 (2024): 37–58. http://dx.doi.org/10.54937/kd.2024.15.1.37-58.

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The topic of the article is the place of history in the development of cultural relations between Czechoslovakia and Italy between 1948 and 1989. Cultural relations are an inseparable part of bilateral relations between countries, and this is true in the case of the complicated relations between Czechoslovakia and Italy in the period from the rise of the communist regime in Czechoslovakia in 1948 to its demise in 1989. History, in its various forms, also had an indispensable place in these relations. This was due to the general fact that the regime in Czechoslovakia used historical themes and

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Krasuska, Karolina. "Gendering the Holocaust gallery in POLIN Museum of the History of Polish Jews." European Journal of Women's Studies 26, no. 3 (2019): 247–60. http://dx.doi.org/10.1177/1350506819857220.

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Even though a gender perspective, in reference to various aspects of museums and their exhibits, permeates the reflection on museums, gender is not explicitly taken up as a category of knowledge within the self-reflective narratives about the core exhibition or the conceptualization of the Holocaust gallery in POLIN Museum of the History of Polish Jewish, which opened in Warsaw, Poland in 2014. Building upon the research gendering the memory of the Holocaust, especially with regard to historical exhibitions, and using a cultural studies framework to the study of representation, this article as

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Ergut, Elvan Altan. "Displaying Abroad: Architecture and Town Planning Exhibitions of Britain in Turkey in the Mid-1940s." New Perspectives on Turkey 50 (2014): 145–70. http://dx.doi.org/10.1017/s0896634600006609.

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AbstractThis paper focuses on two exhibitions of architecture and town planning held by Britain in Turkey in the mid-1940s. The use of these exhibitions for propaganda purposes, as well as their reception in the highly politicized context of World War II, requires the study to emphasize the political as well as the professional perspective of the contemporary architectural context. Analyzing why and how these exhibitions were held, and what they displayed as representative of British architecture and town planning, the paper discusses the characteristics of the contemporary discourses and prac

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Budai, G., and N. D. Afanasieva. "Teaching the Russian Language in Hungary: History of Cultural Interactions." Concept: philosophy, religion, culture 5, no. 1 (2021): 121–31. http://dx.doi.org/10.24833/2541-8831-2021-1-17-121-131.

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The paper is dedicated to outlining the main specific features of the spread and reception of Russian language in Hungary, with attention paid to the chronological perspective and the current situation. The text aims at revealing the factors, institutional and personal agents that fuel the interest to studying and teaching Russian in the atmosphere of Hungary. Russian history, culture, literature, traditions, and, consequently, the Russian language have always been of interest in Hungary. The Hungarian national culture developed in parallel with the rise of enthusiasm toward Russia — and in 18

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Kim, Su-Mi. "The Metropolitan Museum of Art’s Korean Collection: Historical Changes in Collecting, Exhibition, and Management." Korea Association of World History and Culture 64 (September 30, 2022): 305–28. http://dx.doi.org/10.32961/jwhc.2022.09.64.305.

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This article aims to investigate the trajectory of the Korean collection in the Metropolitan Museum of Art (Met) in New York, which is distinguished as a “universal” museum. The transformative characteristics of the formation, exhibition, and management of the Korean collection from its early stage to the present have a close relationship with the Met’s achievement of its mission statement and South Korean cultural institutions’ practices. Transitionally, the establishment of the Korean gallery in 1998 and the presence of a diverse range of its collections in further exhibitions were the major

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Kozár, Aleš. "Formation of cultural images of Slovenia in Czech journalism of the nineteenth century and their traces in contemporary memory." Z Badań nad Książką i Księgozbiorami Historycznymi 18, no. 3 (2024): 543–54. https://doi.org/10.33077/uw.25448730.zbkh.2024.891.

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During the nineteenth century, in the Czech press we can see the formation of symbolic images of Slovenes and Slovene culture and its history and culture that accompanied the development of mutual awareness of both countries and cultures. The intensity of these ties culminated at the beginning of the twentieth century in all areas of the contact between the two countries. During the twentieth century, thanks to both world wars and the political changes they caused, as well as due to the estrangement of both regimes during the 1950s, these relations underwent partial degradation, accompanied by

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Schorch, Philipp, and Nicholas Thomas. "Introduction." Museum Worlds 12, no. 1 (2024): 47–55. https://doi.org/10.3167/armw.2024.120105.

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Given the dramatic impact of human action on the environment, evidenced in climate change and biodiversity loss, it has been widely recognized that humanity needs to reimagine its environmental relations. Yet, the deeply entrenched separation of concepts of “culture” and “nature” in Western thought and museums forms a major impediment. Western institutions and legal frameworks define and govern sites of “natural” and/or “cultural” significance; meanwhile, museums promote “cultural” and/or “natural” heritage. Reflecting recent and ongoing efforts to deconstruct the “nature/culture” divide, and

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Castañeda, Luis M. "Kubler's Sarcophagus: Cold War Archaeologies of the Olmec Periphery." ARTMargins 4, no. 1 (2015): 3–26. http://dx.doi.org/10.1162/artm_a_00103.

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This article examines conflicting racial, archaeological and art historical interpretations of Olmec art produced in the United States in the early 1960s. It inscribes shifting approaches to the study of monumental Olmec art by figures like George Kubler within the contexts of violent modernization of the Olmec ‘heartland’ of Veracruz and Tabasco, the politicized display of this artistic tradition in museums and traveling exhibitions, and the unstable horizons of U.S.-Mexico diplomatic relations during that period.

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Kushner, Marilyn S. "Exhibiting Art at the American National Exhibition in Moscow, 1959: Domestic Politics and Cultural Diplomacy." Journal of Cold War Studies 4, no. 1 (2002): 6–26. http://dx.doi.org/10.1162/152039702753344807.

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Северин, Віктор Дмитрович, та Надія Василівна Северин. "ФІЛОСОФСЬКО-КУЛЬТУРОЛОГІЧНИЙ ВИМІР ВИСТАВКОВОЇ ДІЯЛЬНОСТІ В КОМУНІКАТИВНОМУ ПРОСТОРІ СУСПІЛЬСТВА". Humanities journal, № 4 (19 грудня 2018): 45–53. http://dx.doi.org/10.32620/gch.2018.4.05.

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Exhibition activity in Ukraine is becoming important. Exhibitions as a factor of scientific, technical and cultural progress in modern conditions contribute improving the efficiency and quality of production, the development of economic relations and international cooperation. The object of the article is to define the concept of exhibition design as a particular aspect of art-design activity, its role and functions in the information and communication space of the modern design culture of Ukraine. The problem of exhibition design is relevant in modern art history. Researchers suppose that at

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Odumosu, Temi. "Burthened Bodies: the image and cultural work of “White Negroes” in the eighteenth century Atlantic world." American Studies in Scandinavia 46, no. 1 (2014): 31–53. http://dx.doi.org/10.22439/asca.v46i1.5149.

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Under the shadow of slavery, skin color played a vital role in determining social relations within cities, ports and colonies around the Atlantic world. Eighteenth century literature propagated the idea that visual differences between the major known human populations were not simply a matter of climate, but also of discreet characteristics and biological composition. When focused on comparisons between Africans and Europeans, these discussions were often speculative and subjective, drawing heavily on traditional symbolic meanings of whiteness and blackness in a positive/negative dichotomy, an

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Ani Margaryan. "The General Image of the Armenian Merchant Projected Through the Sino-Armenian Socio-cultural Relations and the Case Study of the Revival of Merchant Traditional Costume." Journal of Information Systems Engineering and Management 10, no. 29s (2025): 48–57. https://doi.org/10.52783/jisem.v10i29s.4446.

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Armenian communities have had a notable historical presence in various regions of China since the 16th century, with particularly thriving settlements in Canton, Macao, Shanghai, and Hong Kong. During the 17th and 18th centuries, Armenians in China occupied influential positions, receiving endorsement from Chinese authorities. Their impact on Chinese society and East-West commerce is evidenced through their active promotion and patronage of Chinese-manufactured visual art objects. Notably, Jesuit preachers seeking unrestricted access to the country adopted Armenian attire as a strategic approa

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Sánchez, Gonzalo J. "Nineteenth-Century French Painting of Rural Life on Diplomatic Mission to China." French Politics, Culture & Society 41, no. 2 (2023): 71–96. http://dx.doi.org/10.3167/fpcs.2023.410204.

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Abstract Paysages et paysans: la vie rurale en France au XIXe siècle, 1820–1905 was the anodyne title of a loan exhibition inaugurated in March of 1978 at Beijing's National Gallery of China. As the first exhibition of Western painting in China after the instauration of the Communist regime in 1949, the show was a cultural- diplomatic landmark; its planning and reception can refresh our understanding of both Franco–Chinese cultural relations in the waning years of Maoism and the diplomatically recuperative uses of French nineteenth-century painting. This article uncovers the rationales of Fren

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Matveev, E. V. "Associations of Readers in Socialist Countries as a Sphere of Interests of the All-Union Society of Book Lovers." Вестник Пермского университета. История, no. 3(54) (2021): 140–52. http://dx.doi.org/10.17072/2219-3111-2021-3-140-152.

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The article focuses on the analysis of the relations of power and society in the USSR in the 1970s and 1980s, the history of mass voluntary organizations of the late socialism, and the studies of Soviet cultural diplomacy. The process of formation of the international activity of the All-Union Society of Book Lovers (1974–1992) is in the focus of the study. Reports on the reception and dispatch of delegations, plans for foreign partnerships, and responses to requests to Soviet ambassadors in the Eastern Bloc states became sources for the article. Collaboration with foreign organizations – asso

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Lisowska, Kinga. "The world of popular culture in preparation for Regional education – education of students of early childhood education." Podstawy Edukacji 13 (2020): 163–77. http://dx.doi.org/10.16926/pe.2020.13.11.

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The article presents and analyzes the use of various popular culture world’s qualities, the Internet; Music/Sound Recordings; Films; Photographs; Exhibitions in the education process of students of early education pedagogy in the field of regional education and their importance in preparing future pedagogues for educational activities. Considerations have been based on the cycle of core subjects: History and culture of the region; Basics of historical and regional education; Regional and Civil education, that are fullfilled as part of studies of first and second degree in period of time from 2

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Stryjek, Tomasz, Barbara Markowska-Marczak, and Joanna Konieczna-Sałamatin. "Third War of Independence? The Anti-Colonial Dynamics of Ukraine’s Politics of Memory after 2014 on the Example of the National Museum of the History of Ukraine in the Second World War in Kyiv." Acta Poloniae Historica 128 (February 7, 2024): 151–79. http://dx.doi.org/10.12775/aph.2023.128.07.

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The article discusses the transformation of Ukraine from a peripheral colony to a European nation-state. It examines changes in the interpretation of UkrainianRussian relations in historiography, public perceptions, and museum exhibitions related to the ongoing war. It demonstrates that since 24 February 2022, Ukraine’s politics of memory has exclusively followed a continuously expanding anti-colonial perspective. The article highlights a shift in Ukrainian society’s view of its past, with growing interest in the country’s history and a move away from the Soviet perspective. Museums are crucia

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Humeniuk, Tetyana. "Ukrainian Cultural Front: The “Cancel Culture” Discourse." NaUKMA Research Papers. History and Theory of Culture 7 (August 7, 2024): 61–68. http://dx.doi.org/10.18523/2617-8907.2024.7.61-68.

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The essence of the phenomenon of “cancel culture” and the reasons for its relevance in contemporary cultural discourse have been uncovered. Its impact on the protection and preservation of national identity, politics, and intercultural relations has been characterized, and the potential risks of its spread have been considered. The practice of “cancel culture” elicits ambivalent attitudes – it is seen as an opportunity to draw attention to unfair actions, discrimination, and to encourage the protection of democratic values and human rights. However, “cancel culture” also acquires a negative in

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Górny, Maciej. "‘Minesweeper’: In Remembrance of Włodzimierz Borodziej (1956–2021)." Acta Poloniae Historica 125 (August 8, 2022): 5–16. http://dx.doi.org/10.12775/aph.2022.125.01.

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The article outlines the life and achievements of Włodzimierz Borodziej, a contemporary historian. Initially a scholar of the history of Polish-German relations, he became the secretary, and later chairman, of the Polish-German Textbook Commission. Then, he engaged himself in the history of diplomacy and international relations; the ‘Polskie Dokumenty Dyplomatyczne’ [Polish Diplomatic Documents] series was established at his initiative. He also occupied various official positions at the University of Warsaw and in the Sejm of the Republic of Poland. In his final decade, he became interested in

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Fine, Steven. "The Menorah: Cult, History, and Myth Exhibiting the Past and Future of Catholic-Jewish Relations." IMAGES 11, no. 1 (2018): 141–51. http://dx.doi.org/10.1163/18718000-12340083.

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AbstractLa Menorà: Culto, Storia E Mito, The Menorah: Worship, History and Myth was a monumental exhibition mounted by the Vatican Museums and the Jewish Museum of Rome in the Spring of 2017. Bringing together many of the most important artifacts relating to the history of the biblical lampstand in both Jewish and Christian traditions, this exhibition marks a milestone in Jewish-Catholic engagement, and was an active agent in that process. This article presents this act of museological diplomacy, describing many of its most significant artifacts as well as the historiographic challenges presen

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Kryvonos, Pavlo. "New Activities in the Field of Cultural Diplomacy." Diplomatic Ukraine, no. XIX (2018): 733–41. http://dx.doi.org/10.37837/2707-7683-2018-45.

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The author emphasizes that the political power of each state is diplomatic recognition and high-level interstate relations that are mutually beneficial for the parties. The article is concerned with areas of activity of the Directorate-General for Rendering Services to Diplomatic Missions. One of the most fundamental goals in this regard is to provide foreign embassies and international organizations appropriate conditions for their functioning at the highest level, fulfil the duties. In 2018, the staff of the General Directorate for servicing foreign missions again joined the implementation o

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Mervay, Mátyás. "Toward a History of Interwar Sino-Hungarian Cultural Relations: Three Advocates of Kuomintang Soft Power, Hungarian Irredentism and Pan-Danubianism." Hungarian Cultural Studies 15 (July 19, 2022): 77–93. http://dx.doi.org/10.5195/ahea.2022.421.

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This paper aims to achieve two goals: the first is to bring a fresh perspective to the Atlanto-centric history of Chinese propaganda while tracing the roots of Sino-Hungarian bilateral approaches and Hungarian Sinology to a time dating some fifteen years earlier than the mutual recognition of the two People’s Republics. This analysis also introduces three actors of different political agendas who applied a similar PR tool of cultural diplomacy to elicit international sympathy for their homeland. After briefly surveying the primary stimuli of cultural diplomacy in interwar Hungary and Republica

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Wiśniewski, Michał. "The cracow school. Arising of the national style in polish architecture of the interwar period." Acta Historiae Artium 48, no. 1 (2007): 317–27. http://dx.doi.org/10.1556/ahista.48.2007.1.13.

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In the 1920s, the architects belonging to the so-called Cracow School faced the challenge of creating public buildings to suit the needs of the re-born state administration as well as the challenge of defining the iconography and symbolism with which it could be identified. The School’s strong position soon after Poland regained independence was due to the fact that Cracow was the most important Polish artistic center at the time. From 1901, operated there the Association of Polish Applied Art, which through various publications, contests, and exhibitions, looked for a Polish national style ba

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Sołtan, Andrzej. "PROFESSOR JANUSZ DURKO (1915–2017)." Muzealnictwo 59 (January 8, 2018): 54–58. http://dx.doi.org/10.5604/01.3001.0012.0593.

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Janusz Durko, Prof. Dr with habilitation, was a historian, an archivist, and a distinguished museologist. Born in Warsaw, he graduated from Warsaw University, history faculty (1938); then spent a whole WWII here. After the liberation from German occupation, he worked in the Capital City Reconstruction Office (Biuro Odbudowy Stolicy), then in the Institute of National Remembrance (Instytut Pamięci Narodowej) founded to conduct research on contemporary history. His doctorate degree he obtained in 1948, habilitation in 1955, professorship in 1964. In 1951, he was appointed to the post of a direct

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Boichuk, O. "Tuning into the design wave. The article is devoted to the Kharkiv School of Design." Vìsnik Harkìvsʹkoi deržavnoi akademìi dizajnu ì mistectv 2021, no. 02 (2021): 31–41. http://dx.doi.org/10.33625/visnik2021.02.031.

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It provides a panoramic overview of how the school was created and has since developed, including the events and personalities that have had a significant impact on its formation. The article emphasizes the role of Kharkiv Art and Industry Institute (KAII / KSADA) in training specialists for the needs of production, art, science, and culture. The article presents design developments of industrial products and graphic corporate styles ordered by companies and organizations. The importance of international relations for the development of the vocational education system and design practice is em

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Chrisnandi, Yuddy. "Future of Indonesian-Ukrainian Relations." Diplomatic Ukraine, no. XIX (2018): 340–46. http://dx.doi.org/10.37837/2707-7683-2018-21.

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In this interview, Yuddy Chrisnandi, Ambassador Extraordinary and Plenipotentiary of the Republic of Indonesia to Ukraine, expresses his gratitude to every person engaged in celebrations of the 73rd anniversary of Independence of the Republic of Indonesia in Ukraine, in the course of which there was an exhibition of goods which can potentially enter the Ukrainian market. The Ambassador pays much attention to the rejuvenation of economic and sociocultural cooperation. Ukraine has hosted more than 20 official visits of Indonesian delegations from various governmental agencies specialising in suc

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Mickiewicz, Ellen. "Efficacy and Evidence: Evaluating U.S. Goals at the American National Exhibition in Moscow, 1959." Journal of Cold War Studies 13, no. 4 (2011): 138–71. http://dx.doi.org/10.1162/jcws_a_00171.

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The American National Exhibition in Moscow (ANEM) in 1959 during the administration of Dwight Eisenhower was intended to show the adversary “a corner of America” and the abundance and technological advances produced by the United States. Neither before nor since has a cultural-diplomatic initiative of similar scale, cost, and bureaucratic and international complexity been attempted. Some former U.S. officials maintain to this day that the success of the venture cannot be determined and that “the jury is still out.” This article not only contributes the assessment of a working participant at th

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Regt, Marina de. "Legal and Practical Aspects of Participation by Women in Arab Societies." American Journal of Islam and Society 21, no. 3 (2004): 183–85. http://dx.doi.org/10.35632/ajis.v21i3.1789.

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Many Arab and Muslim countries have a long history of women’s activism.Depending on location and historical moment, women activists have drawninspiration from a wide array of sources, including both religious and seculardiscourses. In all cases, however, one main issue is how legal systemsand processes of legal reform on the one hand, and social relations andeveryday life on the other hand, relate to each other.At this conference, held in The Hague, The Netherlands, on March 4-5, 2004, the tensions between legal systems and social life were discussed.The conference was organized by the Arabic

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Morgan, Kenneth. "Selling Queensland: Richard Daintree as Agent-General for Emigration, 1872–76." Queensland Review 27, no. 2 (2020): 137–53. http://dx.doi.org/10.1017/qre.2020.12.

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AbstractThis article analyses the work of Richard Daintree as Agent-General for Emigration from the United Kingdom to Queensland when he held that role between 1872 and 1876. Daintree designed exhibitions in London to attract emigrants, placed advertisements in newspapers, wrote a guide to Queensland’s resources, liaised with shipping companies for passenger berths, lectured in the provinces to potential emigrants, and cooperated with emigration sub-agents provided by Queensland’s government for Scotland and Ireland. Daintree contended with two main problems during his period as Agent-General.

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Варламова, Л. И. "The history of the opening of the first exhibition from the Republic of Korea in the Primorye State Art Gallery." Iskusstvo Evrazii [The Art of Eurasia], no. 4(23) (December 29, 2021): 74–85. http://dx.doi.org/10.46748/arteuras.2021.04.006.

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Статья посвящена истории открытия персональной выставки художника Ким Кён Ёл (Kim Kyong Yeoul) из Республики Корея в Приморской картинной галерее в 1997 году и ее значению для развития российско-корейских культурных связей. В основу исследования положены материалы из коллекции и архива Приморской государственной картинной галереи. Primorye State Art Gallery The article is devoted to the history of the opening of the exhibition of Korean artist Kim Kyong Yeoul (Seoul, Pepublic of Korea) in the Primorye State Art Gallery in 1997 and to its significance for the Russian-Korean cultural relations.

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Rybak, A. "Exhibition and fair art of Nizhyn in the context of ethnographic local lore of the Left Bank of Ukraine." Literature and Culture of Polissya 105, no. 15i (2021): 126–33. http://dx.doi.org/10.31654/2520-6966-2021-15i-105-126-133.

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The article examines the history and present of the exhibition and fair art of Nizhyn. The relevance of research of the fair movement as the need to restore historically old and new fair projects in the context of cultural and artistic creativity of the inhabitants of large cities, small towns and villages of the regions of Ukraine is argued. The emphasis is placed on exhibition and fair activities for domestic organizations and companies as one of the forms of presentation of their own creations for buyers and making interest of investors. It has been approved that holding exhibition and fair

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Selejan, Ileana L. "Incident Transgressions: A Review of Transmissions: Art in Eastern Europe and Latin America, 1960–1980, MOMA." ARTMargins 5, no. 2 (2016): 87–104. http://dx.doi.org/10.1162/artm_r_00149.

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By placing on view a large selection of objects recently acquired by the New York Museum of Modern Art, the exhibition Incident Transgressions: Report on “Transmissions: Art in Eastern Europe and Latin America 1960–1980” (September 5, 2015 to January 3, 2016) sought to situate artistic practices from Latin America and Eastern Europe within a discursive model of cross-cultural and aesthetic transmission. However, the exhibition marginalized an account of the specific relations between these objects in favor of a more encompassing global curatorial narrative. While seeking to outline the paramet

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Isabella, Brigitta. "Navigating and Exhibiting Ambivalence: Yin Hua Artist Organization and Sino-Indonesian Relations in the 1950s to 1960s." Indonesia 117, no. 1 (2024): 31–57. http://dx.doi.org/10.1353/ind.2024.a926785.

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Abstract: This paper interrogates the logic of inclusion and exclusion that foregrounds the ethnocentrism and spatial boundedness of the state project’s national identity construction and proposes critical terms of discussion that challenge the limiting nation-centric framework prevalent in the dominant modern art historiography discourse. Drawing on primary archival research, it describes accounts of Lembaga Seniman Yin Hua (Yin Hua Meishu Xiehui, 印華美術協會, Yin Hua Artist Organization), an art organization established in 1955 in Jakarta and analyzes it against the backdrop of the Sino-Indonesia

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Dilin, Liu, and Feng Yixin. "LU XUN – GUIDE TO SOVIET WOODCUTS IN CHINA." Socio-economic and humanitarian magazine, no. 3 (March 19, 2024): 166–78. http://dx.doi.org/10.36718/2500-1825-2024-3-166-178.

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The paper examines the history of the emergence of Soviet woodcuts in China with the assistance of the writer Lu Xun. The purpose of research is to study Lu Xun's activities in the field of art, to find out how Soviet woodcuts came to China and influenced Chinese art, to restore the historical picture of that time in order to enrich the topic of the history of Soviet-Chinese artistic exchanges, which is the focus of the history of Soviet-Chinese cultural cooperation. The significance of the study lies in the need to use the historical experience of Soviet-Chinese relations to provide informati

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Kwiatkowska, Hanna. "EXHIBITION REVIEW." East European Jewish Affairs 37, no. 1 (2007): 109–11. http://dx.doi.org/10.1080/13501670701309079.

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Choi, Hyun Kyu, and Jung Min Byun. "A Study on the Content Composition Strategies for Attracting International Cultural Events." Korean Society of Gyobang and Culture 4, no. 4 (2024): 155–77. https://doi.org/10.58936/gcr.2024.12.4.4.155.

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The purpose of a general event is to set a specific goal according to the intention or personality to provide new information to the gathered people or to convey the meaning to induce the reaction.,In this regard, international cultural events are held with the aim of creating an opportunity to enhance the image of the nation through artistic activities and cultural heritage that take advantage of the cultural characteristics of each country.,This is expressed in performances, exhibitions, festivals, etc., through which cultural originality is conveyed to the public and the national status is

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PAVER, CHLOE. "What's so Austrian about the Alps? Local, Transnational and Global Perspectives in Austrian Exhibitions about the Alps." Austrian Studies 18, no. 1 (2010): 179–95. http://dx.doi.org/10.1353/aus.2010.0010.

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Lazebnyk, Stanislav. "Monumental Ambassador of Ukraine." Diplomatic Ukraine, no. XIX (2018): 742–56. http://dx.doi.org/10.37837/2707-7683-2018-46.

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The author emphasizes that the political power of each state is diplomatic recognition and high-level interstate relations that are mutually beneficial for the parties. The article is concerned with areas of activity of the Directorate-General for Rendering Services to Diplomatic Missions. One of the most fundamental goals in this regard is to provide foreign embassies and international organizations appropriate conditions for their functioning at the highest level, fulfil the duties. In 2018, the staff of the General Directorate for servicing foreign missions again joined the implementation o

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Timoschenkova, Galina A. "Figures of the socio-political, scientific, and cultural life of Italy, 17–19 centuries. The exhibition of autographs at the RSL." Bibliotekovedenie [Russian Journal of Library Science], no. 5 (October 24, 2011): 70–78. http://dx.doi.org/10.25281/0869-608x-2011-0-5-70-78.

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2011 — the Year of Russian culture and Russian language in Italy and the Year of Italian Culture and Italian language in Russia is the culmination of centuries-old ties between Moscow and Rome. The history of relations between Russia and Italy is intimately associated with the interpenetration of cultures of two countries: Italy culture in Russia — due to famous and great architects, sculptors, musicians, and Russian in Italy, where many painters, poets and writers from our Fatherland worked. “Cross-year” also has been reflected in the activities of the Russian State Library, where was the exh

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DE GIORGI, LAURA. "Chinese Brush, Western Canvas: The travels of Italian artists and writers, and the making of China's international cultural identity in the mid-1950s." Modern Asian Studies 51, no. 1 (2016): 170–93. http://dx.doi.org/10.1017/s0026749x16000263.

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AbstractAfter 1955 the People's Republic of China looked to Western Europe to develop new economic and cultural relations, and to project its new image as an independent Socialist state. In this new context, between 1955 and 1957 several Italian delegations visited China to explore the possibility of cooperation between China and Italy in the field of literature and art. This article investigates the most important of these delegations, led by the jurist, Piero Calamandrei, in 1955, and some subsequent initiatives, such as the exhibition of Italian artists held in Beijing in 1956. Drawing main

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Gardner, Sally. "Procedures for moving. Walls." Choreographic Practices 11, no. 2 (2020): 245–58. http://dx.doi.org/10.1386/chor_00021_1.

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This article discusses an experiment in combining personal archival digital images, including those taken at various dance performances or rehearsals, in which the phenomenon of interruption was both discovered and investigated. The composite images were shown at a Space, Race, Bodies cultural studies and activist conference with the theme of ‘Walls’, held in 2018 in Aotearoa New Zealand. Parallel with discussing the process of creating these images and considering their effects, the article draws on the experience of exhibiting at the conference to explore relations between poetics and politi

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May, Anthony, and XiaoLu Ma. "Hong Kong: Changing Geographies of a Media Capital." Media International Australia 124, no. 1 (2007): 156–65. http://dx.doi.org/10.1177/1329878x0712400115.

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Thanks to its stunning entry into the ranks of world cinema in the 1970s, the history of the Hong Kong film industry up to 1997 is relatively well known. However, the coincidence of the Asian economic recession and the city's reintegration into the People's Republic of China (PRC) has worked to obscure recent developments. This article analyses contemporary Hong Kong cinema and its relations with the government of the mainland. We argue that the economic, cultural and geopolitical location of the city is contributing to developments that will allow the art cinema of the People's Republic of Ch

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Pangilinan, Carlo Gabriel. "Tansong Ginto: Alaala, Lunan at Ideolohiya sa Loob at Labas ng Museo ng Lilan." Plaridel 8, no. 1 (2010): 71–94. http://dx.doi.org/10.52518/2011.8.1-05pnglnn.

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This paper is a critical inquiry, assessment and re-reading of the permanent exhibit Gold of Ancestors: Pre-colonial Treasures in the Philippines at the Ayala Museum. The critique employs the concepts of memory, space and ideology as vital theoretical positions and formulations, in order to criticize the exhibition, the museum and as such, to serve as a trope and discursive linkage in the critique of consumerism, capitalism and neo-liberal globalization as vital ideological imperatives that invisibly shape the field of other cultural productions and spaces—such as the mall. It will try to look

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