Academic literature on the topic 'International Exhibition'
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Journal articles on the topic "International Exhibition"
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Holovnia, O. M. "Exhibitions and Fairs as an Integration Tool for Implementing the Interests of Agricultural Enterprises." PROBLEMS OF ECONOMY 1, no. 51 (2022): 20–25. http://dx.doi.org/10.32983/2222-0712-2022-1-20-25.
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The state of modern exhibitions is considered, the latter being an important means of communication between producers and consumers in the Ukrainian market under market economy. Exhibitions reflect the material, technological, information, and communication development; they have become a standardized price indicator, an economic and political platform forecasting changes in supply and demand in the global agricultural market, and a globalized phenomenon with economic, political and socio-cultural content. The author argues that international agricultural exhibitions and fairs are the most effective tools for studying the situation in the agro-industrial market, finding potential consumers, establishing business and cooperation contacts, setting up business cooperation and integration, searching for investors, and more. The article characterizes such leading international agricultural exhibitions as: “Agritechnica”, or the International Exhibition of Agricultural Machinery and Equipment in Hanover; IGW Berlin (International Green Week), which is the largest platform for exhibiting equipment and products of the food industry, agriculture and horticulture; International Green Week (IGW); EuroTier Hannover, or the International Exhibition of Livestock and Poultry; SIMA Simagena Simavip, which is an agricultural exhibition in Paris; SIA (Salon International de L'agriculture), or Paris Agricultural Salon, specializing in animal husbandry, horticulture and food; AgriEquip, or International Modern Agricultural Equipment & Technology Exhibition held in Shanghai; the international exhibition of Warsaw Food Expo in Poland; and International Agro-Industrial Exhibition in Kyiv. It is argued that participation in exhibitions strengthens the competitiveness of agricultural enterprises, create long-term mutually beneficial partnerships, increase the enterprise’s domestic and foreign trade, and promote agricultural and food products in other market segments.
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Ostrianska, Olena, and Natalia Zernova. "FACILITATIVE SUPPORT OF PROFESSIONAL DEVELOPMENT OF RESEARCH AND TEACHING STAFF IN THE PROCESS OF PREPARING AND HOLDING INTERNATIONAL EDUCATIONAL EXHIBITIONS." Science and Education 2020, no. 4 (2020): 24–40. http://dx.doi.org/10.24195/2414-4665-2020-4-4.
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The article analyses the experience of organizing International Educational Exhibitions in Ukraine in 2016 – 2020. The essence of such concepts as "international educational exhibition", "international educational exhibition space", "facilitative support of professional development of research and teaching staff" is defined. The structural elements of the International Educational Exhibition and the stages of a higher educational institution participation in the exhibition activity (preparatory, direct participation, analysis of the achieved results) are considered. The authors of the article present systematized experience of facilitative support of professional development of research and teaching staff provided by specialists of the Department of Scientific Work of the State Institution of Higher Education "University of Educational Management" of the National Academy of Educational Sciences of Ukraine in the process of preparing, holding and analysing results of International Educational Exhibitions, such as "Innovation in Modern Education", "Modern Educational Institutions", "Education and Career – Student's Day", "Education and Career". The types of organizational and coordination activities are determined, a detailed list of actions of the process of facilitative support by the specialists of the Department of Scientific Work of research and teaching staff as exhibitors and visitors of the exhibition is presented. Methodical structuring and algorithmizing of types of organizational and coordination activities and a detailed list of actions of the facilitation process are described in the following stages: 1) preparation of research and teaching staff (exhibitors and visitors) to participate in International Educational Exhibitions; 2) direct participation of research and teaching staff (exhibitors and visitors) in the International Educational Exhibitions; 3) analysis of the results of participation of research and teaching staff (exhibitors and visitors) in International Educational Exhibitions. The authors have created a classification of events of the International Educational Exhibition according to the congress, competition and exponential components. Statistics of the number of planned and conducted events within the International Educational Exhibition activities in Ukraine in 2016 – 2020 are presented. Emphasis is placed on changing the form of exhibitions from offline to online format due to the COVID–19 pandemic and lockdown (quarantine restrictions) in 2020. Recommendations for higher educational institutions to maintain an integrated information base of exhibition educational activities with detailed information on the activities within the exponential, competitive and congress programs of the exhibition.
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Coltofean-Arizancu, Laura. "Displaying Archaeology and Circulating Knowledge." Nuncius 37, no. 3 (2022): 529–63. http://dx.doi.org/10.1163/18253911-bja10039.
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Abstract This article explores the role of archaeological exhibitions organized at international archaeological congresses in the circulation of scientific knowledge in the nineteenth century. It does so through the case study of the exhibition organized at the 8th Congrès international d’anthropologie et d’archéologie préhistoriques (CIAAP; International Congress of Prehistoric Anthropology and Archaeology) which was held in the Hungarian National Museum in Budapest, Hungary, in 1876. The article discusses the exhibition’s curation and impact by analyzing key publications, newspaper articles, and archival documents. It examines the exhibitors’ backgrounds, along with the selection and arrangement of the displayed objects. It also highlights the exhibition’s press coverage and the discussions it generated among the international and domestic participants. The article concludes that the exhibition contributed to creating international scholarly networks, multi- and pluridisciplinary collaborations, as well as international visibility and public support for prehistoric archaeology in Hungary.
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Danilov, Victor J. "International exhibition sponsorship." International Journal of Museum Management and Curatorship 7, no. 2 (1988): 139–50. http://dx.doi.org/10.1080/09647778809515115.
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Danilov, V. "International exhibition sponsorship." Museum Management and Curatorship 7, no. 2 (1988): 139–50. http://dx.doi.org/10.1016/0260-4779(88)90018-0.
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Raharjo, Timbul. "INDONESIAN CRAFT IN THE WORLD TRADE." Ars: Jurnal Seni Rupa dan Desain 21, no. 3 (2018): 177–82. http://dx.doi.org/10.24821/ars.v21i3.2899.
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Some international craft exhibitions focus on home accessories, gifts, and furniture. The exhibition aim as craft product branding at the national and international market, for example 2016 JIFFINA exhibition. Indonesian craft commodity maintains market share in several export destination countries because Indonesian products offer special characteristics and moreover, Indonesian exporters are enthusiastic in promoting the products in international exhibitions. In Asia level, Canton Fair held in Guangzhou International Convention & Exhibition Center China is one of the biggest programs where a big number of buyers look for products they want to purchase. In Asia, exhibition series peak in Guangzhou in March and in Shanghai in October. These exhibitions are visited by importers from Europe, America, Africa, The Middle East, Australia, etc. They come to buy Asian furniture. Some exhibitions in several countries are intentionally organized within a short time in sequence to grab buyers coming to South East Asian area. It is when the commission products from Indonesian producers, in form of retails or projects. Indonesian stakeholders respond this opportunity by organizing two big exhibitions, namely Indonesia International Furniture Expo (IFEX) in Jakarta and Jogja International Furniture and Craft Fair (JIFFINA) in Yogyakarta
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Chychkalo-Kondratska, Iryna, Vladyslav Zhytnyk, and Aapis Bairamov. "Exhibition and Trade Fair Activities in the System of Support for National Exporters." ЕКОНОМІКА І РЕГІОН Науковий вісник, no. 3(78) (December 15, 2020): 49–54. http://dx.doi.org/10.26906/eir.2020.3(78).1996.
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The article substantiates the role of the state in supporting participants of national and foreign exhibitions and fairs and processes of development of exhibition infrastructure. The international exhibitions and fairs are not only an important communication tool, but also a mechanism for promoting new technologies and products in national and international markets. A comparative description is made and the differences between fairs and exhibitions are determined. The structure of the distribution of exhibition areas in the world is analyzed and it is found that Europe has the largest number of exhibition complexes, the share of which is 46% of the global indicators. The dynamics of the main characteristics of exhibition activity in Ukraine from 2015 to 2019 is considered, which indicates the development of this area, but in 2018–2019 there was a certain decline in some indicators, including attendance at these events. The state of exhibition and fair activity in 2019 is analyzed in detail. The article identifies the prospects of exhibition and fair activities in Ukraine. Especially urgent is the solution of training, retraining and advanced training of employees of exhibition and fair activities, as well as the active participation of government agencies in the formation and development of international and national exhibitions and fairs.
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You, Chi-Yeon, Yeon-Sung Jung, Junggeun Kim, and Taewoo Roh. "Organizer Competency and B2B Exhibition Performance: The Mediating Role of Exhibitor Motivation." Journal of Korea Trade 28, no. 3 (2024): 93–117. http://dx.doi.org/10.35611/jkt.2024.28.3.93.
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Purpose - This study aims to explore the significance of organizer competency in B2B exhibitions in South Korea. Drawing on previous literature in the exhibition context, this research empirically examines the impact of organizer competency on exhibition performance and investigates the mediating role of exhibiting firms’ motivation to participate. Motivation is deconstructed into the quality of attendees and market-oriented motivation for a detailed analysis. Design/Methodology - The empirical model of this study considers the relationship between organizer competency and exhibition performance in B2B exhibitions from a resource-based view. To accurately reflect the unique characteristics of B2B exhibitions, we surveyed firms that participated in the Korea International Boat Show. Consequently, the hypotheses of this study were tested through a structural equation model with 85 valid samples. Findings - The findings of this study are twofold: First, we confirm that the competency of exhibition organizers significantly and positively impacts exhibition performance. Secondly, we identify that both motivational factors—quality of attendees and market-oriented motivation— positively influence exhibition performance. Originality/value - Previous studies have overlooked organizer competency as a driver to enhance exhibition performance. However, this study demonstrates that organizer competency positively influences exhibition performance, mediated by the quality of attendees and market-oriented motivation. Furthermore, unlike most previous studies focused on regions such as China and Hong Kong, we analyze our research within the context of the Korean B2B industry.
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Yu, Shining. "An Analysis of International Curation from an Intercultural Perspective." Communications in Humanities Research 9, no. 1 (2023): 253–59. http://dx.doi.org/10.54254/2753-7064/9/20231193.
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It is the advantage of Chinese cultural diplomacy to enrich foreign cultural exchange forms and enhance international influence, communication power, and attractiveness through international museum exhibitions. The international exhibition is an important platform for cultural exchanges with other countries. In the case that the traditional communication forms of Chinese theatre art no longer adapt to the development of modern society, this study will analyze how to curate international exhibitions on the theme of Chinese theatre art from the intercultural perspective so as to achieve the purpose of Chinese culture communication. By analyzing the current situation and problems of international curation, this study explores the cultural significance of international exhibitions from an intercultural perspective, selects Chinese theatre art as the curation theme, analyzes the special narrative expression in theatre art exhibitions, and puts forward some suggestions on the virtual and digital applications in exhibitions. The research shows the mutual compatibility between international exhibition and Chinese theatre art and the importance and necessity of realizing intercultural communication through exhibition as the medium and constructing a new cultural exchange mechanism for the communication of Chinese theatre art through curating exhibitions.
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Gong, Yunhan. "Analyze the Exhibition Industry in the Post-Epidemic Era-Taking the 5th Erdos International Cashmere and Wool Exposition as an Example." BCP Education & Psychology 8 (February 27, 2023): 78–83. http://dx.doi.org/10.54691/bcpep.v8i.4275.
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In the post-epidemic era, the economy of all walks of life is recovering, and the exhibition industry is an industry with a strong driving effect in the short term. Inner Mongolia has local characteristics, and as a province with an immature exhibition industry, it has great potential. In holding exhibitions here, Inner Mongolia will gradually develop exhibitions, so that everyone could see the feasibility of building a convention and exhibition capital in central and western China. This paper analyzes the 5th Erdos International Cashmere and Wool Exposition. Through case analysis and literature research, the paper found that this exhibition combines online and offline exhibitions, with an online cloud exhibition pavilion, cashmere live broadcast competitions, and a distinctive ethnic minority commodity exhibition. This exhibition can provide a reference for the holding of exhibitions in other regions and provide direction and theoretical support for subsequent exhibitions. It provides a feasible solution for promoting economic recovery in the post-epidemic environment.
Dissertations / Theses on the topic "International Exhibition"
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Edwards, Anthony David. "International exhibitions, British economic decline and the technical education issue 1851-1910." Thesis, University of Liverpool, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.366662.
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Dishon, Dalit. "South Kensington's forgotten palace : the 1862 International Exhibition Building." Thesis, Royal Holloway, University of London, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.428483.
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Shay, Alice (Alice Ann). "The contemporary International Building Exhibition (IBA) : innovative regeneration strategies in Germany." Thesis, Massachusetts Institute of Technology, 2012. http://hdl.handle.net/1721.1/73709.
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Thesis (M.C.P.)--Massachusetts Institute of Technology, Dept. of Urban Studies and Planning, 2012.<br>This electronic version was submitted by the student author. The certified thesis is available in the Institute Archives and Special Collections.<br>Cataloged from student submitted PDF version of thesis. Pages [142] and [143] are blanks.<br>Includes bibliographical references (p. 118-[123]).<br>The Internationale Bauausstellung or International Building Exhibition (IBA) is a planning methodology implemented over the course of the 20th century and into the 21st century in Germany. The IBA is unique and characterized by a mix of seemly contradictory conditions. In composition, IBAs are characterized by being site- and time-specific by a mix of seemly contradictory conditions. In composition. IBAs are characterized by being site- and time-specific, long-term and temporary, driven by experimentation and independent in their urban development role. Conceptually, the IBA is driven by theoretical and practical experimentation and a goal to produce "models for the city of the future" that address paradigmatic shifts in urban development. After urban renewal, physical planning lost efficacy and the confidence for imaginative visions to be concretely brought to life. The IBA sits as an outlier in this commonly held conception of physical planning and urban design history. The IBA remains capable of large-scale transformations alongside careful experimentation that pushes existing thinking about the city forward. It is both conceptually ambitious and sensitively grounded in local regeneration. This study is focused on the meaning-making of the IBA-how it constructs new understandings of building: physical transformation and image-making for the city. Three contemporary IBAs were selected as cases to analyze the IBA methodology in its current implementation: 2010 IBA Saxony-Anhalt, 2013 IBA Hamburg and nascent 2020 IBA Berlin. In order to understand the dynamics of the IBA, this thesis is organized around three theoretical frames to analyze the IBA: city imaging, cultural regeneration and mega-events. Each of these frames deals with the complexity of building as an ideological act that shapes not only physical form but also the shape of the city in our minds. Based on analysis of the IBA, this thesis offers strategies for an approach towards the project of the city that can be as variegated as the urban context requires while maintaining the ambitions of urban design towards new models for the city of the future. towards new models for the city of the future.<br>by Alice Shay.<br>M.C.P.
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Smith, George Wilson. "Displaying Edinburgh in 1886 : the International Exhibition of Industry, Science and Art." Thesis, University of Edinburgh, 2015. http://hdl.handle.net/1842/11771.
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The International Exhibition of Industry, Science and Art held in Edinburgh in 1886 was the first universal international exhibition to be staged in Scotland. This thesis examines the event as a reflection of the character and social structure of its host city and as an example of the voluntary organisation of an ambitious project. The background to the Exhibition is located in the progress of large-scale exhibitions in Victorian Britain, in competition between cities, and in Edinburgh’s distinction as an administrative and cultural centre and a national capital. The Exhibition’s organisers are situated within the city’s networks of power and influence and its circles of commerce, industry and municipal government. The space created to host the Exhibition is examined as an ideal depiction of Edinburgh as both a modern and a historic city. The origins of the exhibitors populating the Exhibition space are analysed, and their motivations and exhibiting strategies are scrutinised. The composition of the visitors to the Exhibition is considered and the development of the event as a venue for popular entertainment and spectacular display is discussed. In conclusion the chaotic aftermath of the project is examined, together with its influence on subsequent British exhibitions.
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Koukou, Eleni. "Fitting in 'Outlook' : the politics of site-oriented works in a large international exhibition." Thesis, University of Essex, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.573018.
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This is a case study looking at the production of site-oriented works in 'Outlook', a large international exhibition that took place in Athens in 2003 as part of the Cultural Olympiad (2001-2004). The study examines the processes that led to the production of site-oriented works, reflecting the range of the artists' conceptualisations regarding the city of Athens at a particular moment. The aim is to explore the co-operation of the curator with the artists, from the initial proposals for the works to the final products. Theoretically this undertaking draws upon the discourse on large international exhibitions and on curatorial and artistic innovations as they have developed since the 1960s. In the case examined in this study, the site-oriented works were approached from a critical position emanating from dated curatorial views and authoritative practices, and on the artists' side from a relative absence of critical reflection on the curator's specifications for such works. The findings of this research challenge the argument that the international character of contemporary large exhibitions can be realised through the new roles of the global curator and the itinerant artist in the context of post-Fordist capitalism. Contrary to this argument, 'Outlook' has brought into focus the quasi-ethnographic practices of itinerant artists, who often replaced knowledge of the place with pre-existing artistic patterns capable of application to a variety of settings. Furthermore, the findings question the claimed 'osmosis' between the global curator's and artists' practices, in the light of a strong curatorial figure who set specifications and to some extent shaped not only the list of participants but their final works, too. 'Outlook' generated works that either conformed to the spirit of the exhibition or were in the process of preparation distorted and misinterpreted.
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Zhang, Xin Lu. "Use of new media in event promotion :a study of 2015 China (Macau) International Automobile Exhibition." Thesis, University of Macau, 2017. http://umaclib3.umac.mo/record=b3690646.
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Orr, Kirsten School of Architecture UNSW. "A force for Federation: international exhibitions and the formation of Australian ethos (1851-1901)." Awarded by:University of New South Wales. School of Architecture, 2006. http://handle.unsw.edu.au/1959.4/23987.
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In 1879 the British Colony of New South Wales hosted the first international exhibition in the Southern Hemisphere. This was immediately followed by the Melbourne International Exhibition of 1880 in the colony of Victoria and the success of these exhibitions inspired the Melbourne Centennial Exhibition, which was held in 1888 to celebrate the centenary of white settlement in Australia. My thesis is that these international exhibitions had a profound impact on the development of our cities, the evolution of an Australian ethos and the gaining of nationhood. The immense popularity and comprehensive nature of the exhibitions made them the only major events in late nineteenth-century Australia that brought the people together in an almost universally shared experience. The exhibitions conveyed official ideologies from the organising elites to ordinary people and encouraged the dissemination of new cultural sentiments, political aspirations, and moral and educational ideals. Many exhibition commissioners, official observers and ideologues were also predominantly involved in the Federation movement and the wider cultural sphere. The international exhibitions assisted the development of an Australian urban ethos, which to a large extent replaced the older pastoral / frontier image. Many of the more enduring ideas emanating from the exhibitions were physically expressed in the consequent development of our cities ??? particularly Sydney and Melbourne, both of which had achieved metropolitan status and global significance by the end of the nineteenth century. The new urban ethos, dramatically triggered by Sydney 1879, combined with and strengthened the national aspirations and sentiments of the Federation movement. Thus the exhibitions created an immediate connection between colonial pride in urban development and European and American ideals of nation building. They also created an increasing cultural sophistication and a growing involvement in social movements and political associations at the national level. The international exhibitions, more than any other single event, convinced the colonials that they were all Australians together and that their destiny was to be united as one nation. At that time, Australians began to think about national objectives. The exhibitions not only promulgated national sentiment and a new ethos, but also provided opportunities for independent colonial initiatives, inter-colonial cooperation and a more equal position in the imperial alliance. Thus they became a powerful impetus, hitherto unrecognised, for the complex of social, political and economic developments that made Federation possible.
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Alberro, Alexander. "The turning of the screw : the Sixth Guggenheim International Exhibition, Daniel Buren, and the new cultural conservatism." Thesis, University of British Columbia, 1990. http://hdl.handle.net/2429/28913.
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In this study I have sought to explore the theoretical foundations of the French artist Daniel Buren's work and its subsequent resonance in a context of emergent cultural conservatism. The study also traces, the increasingly tenuous position of the avant-garde, the survival of which is contingent on the presence of certain liberal democratic institutions. For me these concerns led to a systematic investigation of the censorship of Buren's installation at the 1971 Guggenheim International Exhibition. This was the last in a series of exhibitions that was to promote international goodwill by bringing together the best of recently produced works by contemporary avant-garde artists from around the world, and awarding prizes to those considered outstanding. But the real ideological significance of this show was apparent in the aggressive attempt by the administrators of the Guggenheim to promote American cultural superiority.
Buren was invited to contribute a piece to the show in the belief that his work fit into the formalist mode around which the exhibition was organized. Yet the day before the show opened Museum officials suddenly decided to remove his work from the exhibition. The official explanation provided by the authorities of the Guggenheim cited the size and placement of Buren's work as being in direct conflict with the work of other artists in the exhibition. However, this explanation was clearly specious given that the Guggenheim officials knew months in advance exactly what this work would look like, and its intended place of installation. Moreover, Museum officials used the complaints of four participating artists as justification for their actions. Meanwhile, fifteen other artists in the show objected to the Museum's use of censorship. The issue of the Guggenheim Museum's sudden decision to withdraw Buren's installation from the Sixth Guggenheim International is thus more complex than the official explanation would indicate.
My thesis contends that the abrupt removal of Daniel Buren's work is traceable to efforts by Guggenheim officials to protect other works in the exhibition, and the International series as a whole, from floating into the avant-gardist-traditionalist polemic that had again flared up in the New York art world. Chapters One and Two examine the organization of the 1971 Guggenheim International and the rationale behind that organization. Chapter Three looks at the threefold controversy surrounding the 1971 International: the conflict that arose between participating artists, the questions of censorship that were raised by the actions of Museum officials, and the overwhelmingly hostile critical response to the exhibition. This study investigates a period of social and epistemological rupture in American art, the reverberations of which continue to be felt today.<br>Arts, Faculty of<br>Art History, Visual Art and Theory, Department of<br>Graduate
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Tabibi, Baharak. "Exhibitions As The Medium Of Architectural Reproduction "." Master's thesis, METU, 2005. http://etd.lib.metu.edu.tr/upload/12606077/index.pdf.
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This thesis studies the influential role of architectural exhibitions in shaping and directing architectural discourses. The study accepts architectural exhibitions and associated publications as the critical act of architecture, in which (the work of) architecture is interpreted, reproduced and publicized. The main focus of this thesis is Modern Architecture: International Exhibition, held in 1932 at the Museum of Modern Art (MoMA). This particular exhibition is a significant historical event, which officially announced architecture of the early 20th century as International Style. The thesis underlines the role of the 1932 exhibition and MoMA as an architectural media in reproducing the works of architecture and reformulating the agenda of 20th century modern architecture especially in U.S.A.
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PRENCIPE, MONICA. "Building exchanges (1895-1953). International Exhibitions and Swedish resonances in Italian Modern Architecture." Doctoral thesis, Università Politecnica delle Marche, 2018. http://hdl.handle.net/11566/253126.
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Questo lavoro fa parte di una più ampia ricerca sul rapporto tra l’Italia e i Paesi Nordici, guidata dal prof. Antonello Alici presso l'Università Politecnica delle Marche. Il lavoro è stato organizzato cronologicamente, attorno all'analisi di articoli italiani sul tema paesi nordici e di materiali d'archivio originali, tracciandone i rapporti reciproci con il pubblico italiano, e concentrandosi su viaggi ed esposizioni architettoniche e artistiche.
In particolare, la ricerca si concentra sugli eventi legati alla nazione –la Svezia– che per prima ha avuto l'introduzione più rilevante nel panorama italiano, a partire dalla prima Biennale veneziana nel 1895.
Il primo capitolo indaga la genesi di questo rapporto prima dell'inizio della prima guerra mondiale, grazie al contributo di persone come Vittorio Pica e Ferdinand Boberg.
Il secondo capitolo affronta le conseguenze della prima guerra mondiale, con l'emigrazione del futurista Arturo Ciacelli (1883-1966), l'incisore Guido Balsamo Stella (1882-1941) ed i viaggi dell'architetto Giuseppe Broglio (1874-1956).
Il terzo capitolo si concentra sui due decenni fascisti, concentrandosi sul ruolo di istituzioni come la Triennale di Milano e l'Istituto Svedese di Studi Classici a Roma.
Infine, l'ultimo capitolo esamina il periodo del dopoguerra, quando l'ammirazione italiana per il design e l'architettura svedese ha trovato risonanze interessanti sia nei piani INA Casa che in alcuni progetti espositivi, nel lavoro di architetti quali Piero Bottoni (1903-1973), Piero Maria Lugli (1923-2008), Gio Ponti e Franco Albini (1905-1977).
La ricerca ha evidenziato come le nuove Istituzioni, sulla scia di quelle fondate nei decenni precedenti, come l'Istituto Svedese (SI) e l'Istituto Italiano di Cultura di Stoccolma (IIC) –oggi ancora attive– abbiano avuto un ruolo fondamentale nel propaganda internazionale.
Infine, la ricerca vuole mettere in luce come questa complessa combinazione di esperienze personali, riviste (di arte e architettura) e istituzioni costituisca il vero sfondo per storici come Bruno Zevi (che fu il primo a inserire tre maestri nordici nel suo pamphlet Verso un'architettura organica) e Leonardo Benevolo, che nel 1960 riconobbe il ruolo di aree ‘periferiche’ come la Svezia e la Finlandia, nella sua Storia dell'architettura moderna.<br>This work is part of a wider research on the relationship between Italy and the Nordic countries, headed by prof. Antonello Alici at the Università Politecnica delle Marche. The work is organized chronologically around the analysis of both Italian articles on Nordic countries and original archival materials, tracing back the mutual relationships with the Italian audience, focusing on artistic and architectural travels and exhibitions. In particular, the research focuses on the events related to the nation –Sweden– which first had the most relevant introduction into Italian Architecture since the first Venetian Biennale in 1895.
The first chapter investigates the genesis of this relationship before the beginning of the First World War, thanks to the contribution of figures as Vittorio Pica and Ferdinand Boberg.
The second chapter deals with the consequences occurred after the First World War, with the emigration of the futurist Arturo Ciacelli (1883-1966), the engraver Guido Balsamo Stella (1882-1941) and the travels of the architect Giuseppe Broglio (1874-1956).
The third chapter concentrates on the two Fascist decades, focusing on the role of Institutions like the Triennale in Milan and the Swedish Institute of Classical Studies in Rome.
Finally, the last chapter examines the Post-war period, when Italian admiration for Swedish design and architecture found interesting resonances both in the INA Casa plans as well as in some exhibition projects, in the work of Italian architects like Piero Bottoni (1903-1973), Piero Maria Lugli (1923-2008), Gio Ponti and Franco Albini (1905-1977).
The research highlights how the new Institutions, on the heels of the ones founded in the previous decades, like the Swedish Institute (SI) and the Italian Institute of Culture in Stockholm (IIC) –both still active nowadays– had a fundamental role in the International propaganda.
Finally, the thesis discusses how this complex combination of personal experiences, art and architectural magazines and official institutions formed the real background for an historian like Bruno Zevi, who was the first to insert three Nordic masters in his seminal pamphlet Verso un’architettura organica, and Leonardo Benevolo, who in 1960 recognized the role of ‘peripheral’ areas like Sweden and Finland, in his History of Modern Architecture.
Books on the topic "International Exhibition"
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juror, Swartz Anne, Buszek Maria Elena juror, Gutfreund, Karen, catalog designer exhibition director, and Gallery Nine5, eds. Identity: International Juried Exhibition. Women's Caucus for Art/Gallery Nine⁵, 2014.
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Yesul ŭi Chŏndang (Korea). Hanʼgaram Misulgwan. and Tōkyō Geijutsu Daigaku. Daigaku Bijutsukan., eds. International exchange exhibition: Deai. s.n.], 2005.
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Fire India 2007 International Exhibition & Conference (2007 Bombay, India). Fire India 2007 International Exhibition & Conference: Exhibition catalog. Fire Protection Association of India, 2007.
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International Shoebox Sculpture Exhibition (2nd 1985-1986 University of Hawaii). 2nd international shoebox sculpture exhibition: A traveling exhibition. The Gallery, 1985.
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International, Architectural Exhibition (9th 2004 Venice Italy). Metamorph: 9. International Architecture Exhibition. Rizzoli, 2004.
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Bobbe, Besold, Renner Eric, and Center for Contemporary Arts of Santa Fe, eds. The International Pinhole Photography Exhibition. The Center for Contemporary Arts of Santa Fe?, 1990.
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International Building Exhibition (1987 Berlin). International Building Exhibition Berlin 1987. Architecture and Urbanism Publishing, 1987.
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1931-, Nakamura Toshio, and Bauausstellung Berlin GmbH, eds. International Building Exhibition, Berlin, 1987. A + U Pub. Co., 1987.
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Konka, Afrozaa Jamil. Cosmos international art exhibition 2016. Gallery Cosmos, 2016.
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Milano, Politecnico di, ed. OCiam fragile landscapes: International exhibition. Maggioli editore, 2021.
Find full textBook chapters on the topic "International Exhibition"
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Kontou, Tatiana, Victoria Mills, and Kate Nichols. "‘The International Exhibition’." In Victorian Material Culture. Routledge, 2022. http://dx.doi.org/10.4324/9781315400266-39.
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Griffiths, John. "The Imperial-International Exhibition." In Empire and Popular Culture. Routledge, 2021. http://dx.doi.org/10.4324/9781351024785-22.
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Clarke, Meaghan. "International Fair Women." In Fashionability, Exhibition Culture and Gender Politics. Routledge, 2020. http://dx.doi.org/10.4324/9781351027786-9.
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Lawrenson, Anna, and Chiara O’Reilly. "International expositions." In The Rise of the Must-See Exhibition. Routledge, 2018. http://dx.doi.org/10.4324/9781315597119-2.
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Finney, Angus. "Exhibition and the changing cinema experience." In The International Film Business, 3rd ed. Routledge, 2022. http://dx.doi.org/10.4324/9781003205753-13.
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Finney, Angus. "Exhibition and the changing cinema experience." In The International Film Business, 3rd ed. Routledge, 2022. http://dx.doi.org/10.4324/9781003205753-13.
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Kontou, Tatiana, Victoria Mills, and Kate Nichols. "‘Notabilia of the International Exhibition: Artists’ Colours’." In Victorian Material Culture. Routledge, 2022. http://dx.doi.org/10.4324/9781315400266-12.
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Pradani, Rizki Yulianingrum, Endang Prahastuti, and Annisau Nafiah. "Learning Media Development Telegram-based Courses Exhibition." In 5th Vocational Education International Conference (VEIC 2023). Atlantis Press SARL, 2024. http://dx.doi.org/10.2991/978-2-38476-198-2_191.
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Reynolds, Siân. "French Women at the Paris 1937 Exhibition." In Women in International and Universal Exhibitions, 1876–1937. Routledge, 2017. http://dx.doi.org/10.4324/9781315196534-13.
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Mallinson, Jonathan. "9. 1924–25: Recognition of the Artist Potter." In William Moorcroft, Potter. Open Book Publishers, 2023. http://dx.doi.org/10.11647/obp.0349.09.
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This chapter explores the development of Moorcroft’s work against the background of two major international exhibitions: the British Empire Exhibition at Wembley in 1924, and the Exposition des arts décoratifs et industriels in Paris the following year. His high-profile involvement in the Wembley exhibition, epitomised in his magnificent stand designed by Edward Maufe, was one of the landmarks of his career. His display enhanced his reputation as a ceramic artist, culminating in an article published in the Daily Graphic entitled ‘A Potter of Genius’. Surviving reports written to Moorcroft three or four times a week by his two assistants record the impact made by his ware on the many visitors to the stand, from celebrities to ordinary members of the public. Such was Moorcroft’s status as one of the country’s most innovative potters that he was put under considerable pressure by the Board of Trade to exhibit at the Paris Exhibition. This event would become a focus for extensive reflection about the need to modernise British industrial design. While some argued for the aesthetic and economic benefits of following more closely the European and Scandinavian styles in evidence at the Paris Exhibition, Moorcroft did not. He set out his position in a letter to The Times, arguing for design primarily as a mode of self-expression, not of commercial expediency. For all that his work did not follow the trends of ‘modern’ style, it was nevertheless awarded a Gold Medal at the Exhibition. These are the years of Moorcroft’s greatest commercial success, but this was not the basis of his reputation. He was admired for his distinctive, expressive art, described in one review as ‘cogent and articulate’.
Conference papers on the topic "International Exhibition"
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Pei Wu, Yi, and Chien-Hsu Chen. "Design a Visual Communication Platform for curators and artists to curate an exhibition remotely." In 13th International Conference on Applied Human Factors and Ergonomics (AHFE 2022). AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1002034.
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Art is an expression of emotion; art exhibitions bring artists' creations and perceptions to the visitors. International art exhibitions present diverse and high-quality artistic creations through the curator's elaborate exhibition planning, and the connection between artworks and visitors is established to allow visitors to admire and understand; on the contrary, it also challenges the digital communication tools for curators and artists when conducting co-curation remotely. This study utilizes interviews and field study to collect pain points and ultimately provides guidelines and crucial functions for curators and artists to design a visual communication platform during international curation collaboration.
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Irrgang, Daniel. "Thought Exhibition. On critical zones, cosmograms, and the impossible outside." In 28th International Symposium on Electronic Art. Ecole des arts decoratifs - PSL, 2024. http://dx.doi.org/10.69564/isea2023-66-full-irrgang-thought-exhibition.
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The paper discusses the curatorial concept of “thought exhibition” coined by Bruno Latour and Peter Weibel and developed in collaboration with curators, artists, and researchers during four exhibitions at the ZKM Centre for Art and Media, Karlsruhe (Germany). Thought exhibitions transgress the distinctions between philosophy, art, and science by testing ideas in an art museum, a space of discourse, representation, and participation. They engage visitors in a spatio-aesthetic thought experiment by bringing them into a position where preconceptions derived from epistemes of European Modernity are explicated and where alternatives are suggested. The analysis focusses on the most recent exhibition, in the preparation of which the author was involved: “Critical Zones. Observatories for Earthly Politics” (May 23, 2020 – January 9, 2022) mapped the symptoms and origins of the “New Climatic Regime” (Latour) of the late Anthropocene. In this paper, Critical Zones is framed within its theoretical context (Descola, Haraway, Margulis, Whithehead, among others) and discussed as relational spatio-aesthetic approach (Dikeç). The analysis concludes with Sarah Sze’s installation “Flash Point (Timekeeper)” (2018) as one of the exhibition’s central works – a representation, or “cosmogram” (Tresch), of a common planet that may provide an alternative to the globalized world of late capitalism.
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Lee, Chia-Fen, and Min-Yuan Ma. "Research on the attractiveness factors of international exhibition cultural products: a case study of art museum in Taiwan." In 9th International Conference on Kansei Engineering and Emotion Research (KEER2022). Kansei Engineering and Emotion Research (KEER), 2022. http://dx.doi.org/10.5821/conference-9788419184849.62.
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In recent years, due to the active development of cultural and creative industries in Taiwan, cultural elements in exhibitions are often used in product design. Generally speaking, cultural and creative design elements exist in ordinary life and can be found in specific life. Although Tainan Art Museum in Taiwan aims to promote local art, it introduces a special exhibition of Japanese contemporary artist Yoshitomo Nara for the purpose of promoting modern art. Taking this special exhibition as a case, this research aims to analyze the attractiveness of the commodities in transnational exhibitions and discuss the essential spirit of the intercultural commodities. The research results put forward four attractiveness, that are practical feeling, satisfied feeling, mysterious feeling and unique feeling, for the formation of museum cultural commodities, can be used as a reference for the future product development and selection of art museums.
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Mihaylov, Pelo. "TOURIST RESOURCES FOR BUSINESS TOURISM IN SOFIA AND PLOVDIV." In TOURISM AND CONNECTIVITY 2020. University publishing house "Science and Economics", University of Economics - Varna, 2020. http://dx.doi.org/10.36997/tc2020.172.
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The article presents the resources for business tourism in Sofiya and Plovdiv. These events are described in the "Catalogue of fairs and exhibitions in Bulgaria". In Sofia, such events are held at the Inter Expo Center, the Central Department Store, the National Palace of Culture, the Universiade Hall and Sofia Tech Park, while in Plovdiv they are organized only at the International Fair. The article uses the terms exhibition day, when a fair or exhibition is held and calendar day when one or more exhibitions are held in the city. Intensity interval is the ratio between the exhibition days and the calendar days by rounding to the second decimal place and it can be explained as the number of exhibitions that residents (visitors, tourists) of (in) a city can visit in one day.
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Ghita Aditya, Bagus. "Exhibition Service Quality and Its Influence to Exhibitor Satisfaction." In Proceedings of the 1st International Conference One Belt, One Road, One Tourism (ICOBOROT 2018). Atlantis Press, 2019. http://dx.doi.org/10.2991/icoborot-18.2019.10.
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Huang, Xiaoyan, Honghua Wang, Xiaoling Ding, and Ruping Chen. "Scope Management of International Investment Exhibition Projects." In 1st International Symposium on Innovative Management and Economics (ISIME 2021). Atlantis Press, 2021. http://dx.doi.org/10.2991/aebmr.k.210803.049.
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"Exhibition." In 2013 2nd Experiment@ International Conference (exp.at'13). IEEE, 2013. http://dx.doi.org/10.1109/expat.2013.6703048.
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"Exhibition." In 2008 19th International Conference on Pattern Recognition. IEEE, 2008. http://dx.doi.org/10.1109/icpr.2008.4760932.
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"Exhibition." In 2015 First International Conference on Anti-Cybercrime (ICACC). IEEE, 2015. http://dx.doi.org/10.1109/anti-cybercrime.2015.7351922.
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"Exhibition." In 2015 IEEE/SICE International Symposium on System Integration (SII). IEEE, 2015. http://dx.doi.org/10.1109/sii.2015.7404881.
Full textReports on the topic "International Exhibition"
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Hertrich, André. The Atomic Bomb Victims in Nagasaki and Hiroshima on Display: Differing Exhibition Strategies and International Trends in Musealization. Austrian Academy of Sciences, 2024. http://dx.doi.org/10.1553/0x003f56e7.
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The Japanese cities Hiroshima and Nagasaki represent the horrors of war as places of the hundred-thousandfold killing of humans with scientific and industrial means. And as such Hiroshima and Nagasaki (to a lesser degree) became dominant symbols within global memory culture. In my paper I will juxtapose this form of commemoration with what Jeffrey Alexander claimed was an ongoing universalization of the Holocaust as a symbol of radical evil. This universalization also supposedly led to the globalization of aesthetic standards in museum designs of memorial museums worldwide, deriving from Holocaust memorials such as Yad Vashem or the United States Holocaust Memorial Museum as role models. After taking a closer look at the focal points of the atomic bomb memorialization: Hiroshima Peace Memorial Museum and Nagasaki Atomic Bomb Museum, respectively, I will cite international trends of an increasing focus on the fate of individuals since the 2000s, and analyze the representation of victims of the atomic bombings. As there are significant differences in terms of individualization and emotionalization between both exhibitions, I will place a specific focus on pointing out the differences between the two museums, such as the finding that photos of individual victims play a far greater role in Hiroshima. Outlining the in-situ memoryscapes of the atomic bomb destruction, my eventual goal is to discern various influences on the exhibition and to ask whether elements of Holocaust musealization served as role model in aesthetics and design and how genuine "atomic" tropes and modes of display look like.
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LeClair, Steven R. Japan International SAMPE Symposium and Exhibition. Multimedia Information Highway 'Commerce at Light Speed' Program. Opto-Electronic Technology Research Laboratory (4th) Held in Tokyo, Japan on 24-28 September 1995. Defense Technical Information Center, 1995. http://dx.doi.org/10.21236/ada303333.
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Martin, Kathi, Nick Jushchyshyn, and Claire King. James Galanos Evening Gown c. 1957. Drexel Digital Museum, 2018. http://dx.doi.org/10.17918/jkyh-1b56.
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The URL links to a website page in the Drexel Digital Museum (DDM) fashion image archive containing a 3D interactive panorama of an evening suit by American fashion designer James Galanos with related text. This evening gown is from Galanos' Fall 1957 collection. It is embellished with polychrome glass beads in a red and green tartan plaid pattern on a base of silk . It was a gift of Mrs. John Thouron and is in The James G. Galanos Archive at Drexel University. The panorama is an HTML5 formatted version of an ultra-high resolution ObjectVR created from stitched tiles captured with GigaPan technology. It is representative the ongoing research of the DDM, an international, interdisciplinary group of researchers focused on production, conservation and dissemination of new media for exhibition of historic fashion.
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Araújo, Bianca, and Virgínia Araújo. XXX Meeting of the Brazilian Society of Acoustics. Sociedade Brasileira de Acústica, 2023. https://doi.org/10.55753/aev.v38e55.267.
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Between November 19 and 22, 2023, the XXX Meeting of the Brazilian Society of Acoustics (Sobrac) took place at the UFRN Engineering Technology Center in Natal, Brazil. This event, which marks Sobrac's 40th anniversary, is the largest and only technical-scientific meeting in Brazil focused on acoustics and vibrations. Bringing together 292 participants, the event featured the presentation of 68 papers in 18 thematic areas, as well as five lectures, six short courses, two round tables, and a workshop, with an outstanding international presence. There was also an exhibition fair with 22 exhibitors and two technical visits, which attracted around 250 professionals each day. The event ended with the awarding of seven prizes in a student competition. The final evaluation by the participants highlighted the high level of organization and technical-scientific level of the meeting.
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Martin, Kathi, Nick Jushchyshyn, and Claire King. James Galanos, Wool Evening Suit. Fall 1984. Drexel Digital Museum, 2018. http://dx.doi.org/10.17918/6gzv-pb45.
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The URL links to a website page in the Drexel Digital Museum (DDM) fashion image archive containing a 3D interactive panorama of an evening suit by American fashion designer James Galanos with related text. This evening suit is from Galanos Fall 1984 collection. The skirt and bodice of the jacket are black and white plaid wool. The jacket sleeves are black mink with leather inserts that contrast the sheen of the leather against the luster of the mink and reduce some of the bulk of the sleeve. The suit is part of The James G. Galanos Archive at Drexel University gifted to Drexel University in 2016. The panorama is an HTML5 formatted version of an ultra-high resolution ObjectVR created from stitched tiles captured with GigaPan technology. It is representative the ongoing research of the DDM, an international, interdisciplinary group of researchers focused on production, conservation and dissemination of new media for exhibition of historic fashion.
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Martin, Kathi, Nick Jushchyshyn, and Claire King. James Galanos, Silk Chiffon Afternoon Dress c. Fall 1976. Drexel Digital Museum, 2018. http://dx.doi.org/10.17918/q3g5-n257.
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The URL links to a website page in the Drexel Digital Museum (DDM) fashion image archive containing a 3D interactive panorama of an evening suit by American fashion designer James Galanos with related text. This afternoon dress is from Galanos' Fall 1976 collection. It is made from pale pink silk chiffon and finished with hand stitching on the hems and edges of this dress, The dress was gifted to Drexel University as part of The James G. Galanos Archive at Drexel University in 2016. After it was imaged the gown was deemed too fragile to exhibit. By imaging it using high resolution GigaPan technology we are able to create an archival quality digital record of the dress and exhibit it virtually at life size in 3D panorama. The panorama is an HTML5 formatted version of an ultra-high resolution ObjectVR created from stitched tiles captured with GigaPan technology. It is representative the ongoing research of the DDM, an international, interdisciplinary group of researchers focused on production, conservation and dissemination of new media for exhibition of historic fashion.
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Martin, Kathi, Nick Jushchyshyn, and Claire King. Christian Lacroix Evening gown c.1990. Drexel Digital Museum, 2017. http://dx.doi.org/10.17918/wq7d-mc48.
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The URL links to a website page in the Drexel Digital Museum (DDM) fashion image archive containing a 3D interactive panorama of an evening gown by French fashion designer Christian Lacroix with related text. This evening gown by Christian Lacroix is from his Fall 1990 collection. It is constructed from silk plain weave, printed with an abstract motif in the bright, deep colors of the local costumes of Lacroix's native Arles, France; and embellished with diamanté and insets of handkerchief edged silk chiffon. Ruffles of pleated silk organza in a neutral bird feather print and also finished with a handkerchief edge, accentuate the asymmetrical draping of the gown. Ruching, controlled by internal drawstrings and ties, creates volume and a slight pouf, a nod to 'le pouf' silhouette Lacroix popularized in his collection for Patou in 1986. Decorative boning on the front of the bodice reflects Lacroix's early education as a costume historian and his sartorial reinterpretation of historic corsets. It is from the private collection of Mari Shaw. The panorama is an HTML5 formatted version of an ultra-high resolution ObjectVR created from stitched tiles captured with GigaPan technology. It is representative the ongoing research of the DDM, an international, interdisciplinary group of researchers focused on production, conservation and dissemination of new media for exhibition of historic fashion.
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Strasser, Fiona-Elaine. Recommendations on engaging with the next generation of stakeholders. EuroSea, 2023. http://dx.doi.org/10.3289/eurosea_d8.11.
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This report provides an overview of EuroSea's initiatives focused on engaging the next generation of ocean observing and forecasting stakeholders. Many activities took place, including delivering workshops, presenting the EuroSea itinerant exhibition, collaborating with the WASCAL Floating University and the SEA-EU inter-university initiative, supporting the international Ocean Observers Initiative, and much more. Engaging the next generation of stakeholders in meaningful discussions and innovative projects is essential to ensure future-oriented intergenerational collaboration. Yet, this is often an overlooked aspect of public engagement within the Horizon 2020 landscape as it requires engagement techniques specifically tailored to reach the young generation. Within the framework of Horizon 2020, the European Union's research and innovation funding program, public engagement traditionally targets a diverse range of stakeholders, including researchers, policymakers, industry representatives, civil society organizations, NGOs, and citizens. While these efforts are crucial for fostering inclusive and transparent dialogue, targeted initiatives directed towards the younger generation and early-career ocean professionals need to be expanded. It is important to recognize the concerns, unique perspectives, and aspirations of young individuals who will inherit the outcomes of today's research and innovation. Dedicating resources to engage with the next generation is vital to ensure their active involvement in shaping their future and addressing global challenges such as the sustainability of ocean observing, monitoring, and forecasting. EuroSea has recognized the importance of fostering a deeper understanding of ocean observing and forecasting among the younger generation. This deliverable and the many activities feeding into it are a testament to EuroSea's commitment to this cause. This report focuses on the lessons learnt from a diverse array of activities engaging the next generation of ocean observing and forecasting stakeholders, demonstrating the extensive range of possibilities for involving the younger generation. It underscores the importance of tailoring approaches to different age groups, from school children to university graduates and adapting engagement strategies to their varying interests and life stages. Every experience—even the ones that did not turn out as expected—has shown to be beneficial, and it is important to share lessons learnt and identify best practices while expanding these kinds of initiatives. EuroSea's dedication to engaging the next generation of stakeholders is a significant step in fostering inter-generational dialogue and promoting blue skills and knowledge sharing. Valuable lessons have been learnt from the EuroSea engagement activities and provide guidance for future initiatives aimed at fostering a deeper understanding of our ocean among the younger generation and engaging them in conversations that impact their future on this planet. (EuroSea Deliverable, D8.11)
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Lindo-Ocampo, Gloria Inés, and Hilda Clarena Buitrago-García. English for Business Course. Thematic Unit: Business Events. Ediciones Universidad Cooperativa de Colombia, 2022. http://dx.doi.org/10.16925/gcnc.24.
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This didactic unit is aimed at the fifth semester students of the Business Administration, Marketing and International Business program, who have already completed the four basic levels of the Open Lingua program. This proposal seeks to develop skills and competencies that allow them to perform in different fields related to private, public and solidarity economy companies, and in various mediation and negotiation processes at national and international levels. The instructional design of this unit contains real-life situations, focused on the world of business, that allow students to interact in various types of business events. The grammatical and lexical concepts, necessary to interact successfully in these types of communicative situations, are introduced and applied. The educational activities are designed to offer opportunities to interact in business conferences, international exhibitions, and seminars, among others. The contents are framed in natural and meaningful contexts. This leads to a greater understanding of the type of language used in business and the way it is used to communicate. The contents are structured in three lessons in which the level of complexity of the topics, tasks, texts and transitions (4Ts) have been considered. Also, various types of activities that activate and reinforce previous knowledge and that, subsequently, evaluate the progress of the students, are included.
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bin Ahsan, Wahid, Imran Hossain, Habibur Rahman, et al. Global Mobile App Accessibility: A Comparative Study of WCAG Compliance Across 12 Countries. Userhub, 2024. http://dx.doi.org/10.58947/mxrc-rzkh.
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This study assesses the accessibility of mobile applications across twelve countries, including the USA, Vietnam, Turkey, Ireland, and South Korea. Our evaluation of 60 popular apps reveals a widespread failure to meet the Web Content Accessibility Guidelines (WCAG), with Vietnam exhibiting the highest average of 41.2 violations per app. These violations were particularly prevalent in essential areas such as touch target size and color contrast, critical for users with visual and motor impairments. Despite robust accessibility laws such as the Americans with Disabilities Act (ADA) in the USA and the European Accessibility Act (EAA) in the EU, our findings indicate a significant gap between these legal frameworks and their practical application. Our study highlights the urgent need for a multifaceted approach that includes strict enforcement, enhanced developer education with a focus on cross-cultural accessibility, and international cooperation. This research underscores the importance of integrating accessibility as a core component of digital infrastructure development to ensure mobile applications are truly accessible to all users.