Dissertations / Theses on the topic 'International Exhibition'

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.

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.

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.

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.

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

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.

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.

Cette thèse retrace l’histoire des expositions temporaires à caractère artistique organisées aux Galeries nationales du Grand Palais (GNGP) entre 1966 et 2005. Les analyses sur le contexte historique, politique et social et sur la politique artistique internationale en France révèlent que le pouvoir publique contribue à cette histoire des expositions dès l’origine : il soutient et institutionnalise des expositions temporaires en tant qu’action culturelle de l’État. La mise en oeuvre des expositions est coordonnée principalement par trois organismes publiques : la Réunion des Musées nationaux (RMN), l’Association française d’Action artistique, et les administrations pour l’art contemporain. Sous le titre de grande exposition prestigieuse, chacune de ces expositions a été un moyen pour illustrer une célébration commémorative, une belle relation diplomatique avec l’étranger et une présentation de recherches scientifiques et de politique de patrimoine. De la volonté d’échanges artistiques avec des musées étrangers a résulté l’internationalisation des expositions temporaires, la professionnalisation de la RMN en la matière. Le développement des recherches en histoire de l’art en collaboration avec ces musées étrangers est une conséquence évidente. Toutes ces orientations apparentent les Galeries nationales du Grand Palais à une institution culturelle phare au centre de la capitale en affirmant leur place parmi les grands musées parisiens. Ce travail se focalise également sur la gestion organisatrice, introduite dans la pratique de l’organisation d’expositions aux GNGP notamment pour : l’entretien et la muséographie des collections, le financement des expositions et l’accueil des publics. On constate aussi une professionnalisation des métiers concernant l’organisation d’expositions, pendant ces années. Cette thèse présente le développement de grandes expositions organisées dans un cadre institutionnel, le goût des grands publics pour des expositions artistiques. Elle nous permet également de comprendre l’évolution des expositions temporaires muséales dans la seconde moitié du XXème siècle<br>This thesis presents an investigation on the history of temporary art exhibitions at the Galeries nationales du Grand Palais (GNGP) between 1966 and 2005. The analysis of the historical, political and socialistic background and the international artistic policy of France show that the government has played a central role in the development of art exhibitions at the GNGP : the government has encouraged and institutionalized art exhibitions as one of its cultural policy. These exhibitions were mostly planned by three public institutions; Réunion des Musées Nationaux (RMN), Association française d’Action artistique, and the institution for contemporary arts. Each exhibition named as a major representation has been taken place for the commemoration and the presentation of friendly diplomatic relations with foreign countries. Some exhibitions announced academic achievements in art history and outcomes of museum and cultural heritage policies. The enhancement policy of the cultural exchange with foreign museums has led to the internationalization of artexhibitions, and the development of the RMN specialized for the planning of international art exhibitions. This policyalso contributes to the art history research development through the academic collaboration with foreign museums. These grand exhibitions that took place at the GNGP have contributed to make the GNGP as a major cultural institution in the centre of capital city, comparable to other main museums of Paris. This works also discusses the introduction of management for running exhibitions at the GNGP. First, this management included the systematic care and presentationof collections, then the funding of exhibitions and even more the reception of visitors. Moreover, during these years, there has arisen a professionalization of jobs related to art exhibition planning and operation. This thesis presents the development of grand art exhibitions organised in the frame of the public administrations, public audiences for fine arts exhibition, and also allows the understanding of the development of the temporary museum exhibitions held in thesecond half of the twentieth century

This thesis has been prepared as urban study BVV in Brno. The project deals with the revitalization of the area, streamlining usage in the long run. The area is delimited to the northeast street Hlinka, southwest Street Bauer. The territory is located near the center of Brno, near the Mendel Square. It is directly connected to the ring road. The main objectives of the project are to restore its original luster campus, thanks to which Brno became known in the world - to create an international cultural and sports science node. Open to the public year-round resort and create new areas of specific housing related to the function of the complex.

La France et la Belgique organisent plusieurs expositions coloniales internationales et universelles de la fin du XIXe siècle à 1958. Ces deux puissances coloniales y développent une propagande multiforme pour justifier leurs « missions civilisatrices ». Les missionnaires catholiques et protestants participent à ces grandes fêtes. La consultation d’archives des congrégations religieuses (Spiritains, Jésuites…), de l’œuvre de la Propagation de la Foi, de fonds publics français, belges, suédois et du Saint-Siège permet de comprendre comment s’organisent les missionnaires pour participer à ces expositions en France et en Belgique. De l’exposition de 1897 (Tervuren) à celles de 1935 et 1958 (Bruxelles), en passant par Paris 1900, 1931 et 1937, les missionnaires s’exposent dans des pavillons qui s’agrandissent pour devenir de véritables complexes architecturaux. Les vecteurs de la mise en scène changent et s’adaptent : les objets « indigènes » sont délaissés au profit de dioramas, de statistiques stylisées et de cartes lumineuses. L’architecture du pavillon est en elle-même un discours comme le prouve le pavillon des missions catholiques de 1931. A travers ces évolutions de la mise en scène, ce sont des changements dans les représentations missionnaires du monde qui s’observent : les colonisés et leurs cultures sont de plus en plus valorisés et le lien avec la colonisation moins affirmé<br>France and Belgium organised several international and colonial exhibitions, as well as universal exhibitions or World Fairs, from the end of the 20th century to 1958. Through these world exhibitions, these two great colonial powers developed various forms of propaganda to account for their “civilizing missions”. Protestant and catholic missionaries took part in those great celebrations. By reading and working on archives of religious congregations such as the congregation of the Holy Spirit, The Jesuit, and the oeuvre de la Propagation de la Foi, but also the French, Belgian and Swedish national archives and the Holy Sea archives, I was able to understand how the missionaries organized themselves to take part in those exhibitions in France and Belgium. The missionaries organised exhibitions in ever growing pavilions which would become huge architectural complexes, from the 1897 exhibition (taking place in Tervuren) to the 1935 and 1958 exhibitions (taking place in Brussels), not forgetting the 1900, 1931 and 1937 Paris exhibitions. The way missionaries staged their work changed and evolved. Indeed, “indigenous” artifacts were gradually less displayed and missionaries used dioramas, stylish statistics and lit-up maps instead. The architecture of the pavilion was in itself telling, a good example of this being the 1931 pavilion of the Catholic missions. The way missionaries staged their exhibitions reflected the changes in their worldview. The colonized populations and their cultures were more and more emphasized, while the link with the colonization was less and less asserted and straightforward

Plus que d’autres types de grands évènements, les expositions internationales et universelles contribuent à changer le visage des villes organisatrices. Résolument comparative, cette analyse se propose de travailler sur trois expositions ayant eu lieu ces dernières décennies dans la péninsule ibérique. Les exemples de Séville, Lisbonne et Saragosse, villes de taille comparable et de contraintes similaires permettent de mieux évaluer les impacts de cette catégorie de grand évènement à la fois aux échelles métropolitaine, régionale et nationale. Au-delà de cet apport, l’objectif est également de dégager des éléments permettant d’analyser les bénéfices et les limites de ce type de grand évènement atour de quatre principaux items : l’impact urbain, l’impact économique, l’impact en termes d’image et l’impact sur les acteurs. Cette thèse vise à comprendre ce que ces expositions récentes ont apporté à ces villes, à la fois sur le court et le long terme, en analysant successivement les temps de la projection, de la réalisation et de la reconversion des sites d’exposition Ce travail démontre ainsi que les expositions, au-delà des réflexions postulant pour leur déclin progressif et inexorable, sont en fait de véritables accélérateurs du développement urbain et du processus de métropolisation. Mieux préparées et utilisées, elles pourraient donc être appelées aujourd’hui plus qu’hier encore à transformer les villes, notamment pour leur permettre de se mettre en cohérence avec les critères d’un développement métropolitain plus durable<br>More than other major events, universal and international exhibitions contribute to revamp host cities. Associated to a comparative method, this analysis intends to study the three exhibitions which took place those ultimate decades in the Iberian peninsula. The examples of Sevilla, Lisbon and Saragossa, comparable towns with similar issues allow to evaluate the impacts of this kind of major events considering the metropolitan, regional and national scales. Beyond this contribution, the goal is to underline the elements that allow to analyse the benefits and the limits of that type of major events given four principal elements: urban impact, economical impact, representative impact and social impact. This thesis aims at understanding the exhibition’s contribution to those towns, on a medium and a long term, considering the time of projection, realization and reconversion of exhibitions spots.This work also demonstrates that exhibitions, beyond the assumption of a progressive and inexorable decline, are real boosters for urban development and metropolisation process. Better prepared and used, exhibitions could be involved now more than ever in cities’ transformation, particularly to respect the criteria of a more sustainable metropolitan development

This dissertation presents a fresh approach to the study of Haitian art through research conducted in the emerging interdisciplinary field of exhibition history. In a deliberate attempt to move away from existing notions of Haitian art as a formal or aesthetic style of art practice associated with primitivism – based on mid-twentieth-century art historical narratives – I have opted to explore the display of works by Haitian artists outside of conventional museum and gallery settings. Taking a broader cultural studies approach centred on three case studies, I examine the exhibition of artworks within the transitory sites of national cultural display at two world’s fairs and an art biennial: the Haitian pavilion at the World’s Columbian Fair of 1893; Haiti’s “Little World’s Fair” officially titled Exposition Internationale du Bicentenaire de Port-au-Prince of 1949-50; and the Haitian pavilion at the Venice Biennale in 2011. These exhibitions overlap in the sense that they all claimed to present an official representation of the Haitian nation-state and therefore an authoritative vision of Haitian culture. However, when we peer behind this veneer of official national rhetoric it becomes clear that at each of these sites there were numerous images of Haitian nationhood, as well as notions of a national cultural essence referred to throughout as Haitian-ness, being produced by various agents. Across the course of this study these include: Haitian and foreign state representatives, curators, artists, academics and cultural professionals drawn from Haiti, Haiti’s diasporas and elsewhere, as well as NGOs and other international collaborators. In each case those curating Haiti’s national displays at these events balanced assertions of national sovereignty against international marketability: delicate negotiations that, I argue, can be discerned through analysis of the forms, aesthetics, subjects and contextualisation of the artworks displayed. Across the course of this dissertation therefore I chart a shift in the substance of these Haitian cultural displays, and the artworks presented within them, from a fin de siècle expression of Francophile neoclassicism, through an uneasy post-war coupling of folkloric exoticism and western modernity, to a fragmented picture of contemporary Haitian-ness articulated with reference to poverty and cultural otherness as well as cosmopolitanism. Through an examination of these case studies I have sought to explore how the visual arts intersected with expressions of Haiti’s postcolonial nationhood at exhibitions staged within events scattered across the Atlantic World. Further, by charting shifts in the production and projection of Haitian nationhood and art across these three sites I have attempted to grasp a fuller picture of how entangled ideas of nation and culture have had a bearing on exhibition histories, international institutional engagement with and the marketing and perception of the work of Haitian artists through the long twentieth century.

Esta investigação visa analisar e detalhar informações sobre a apresentação de coleções industriais nas Exposições Nacionais Brasileiras e Universais do século XIX. A primeira participação oficial brasileira numa Exposição Universal foi em 1862 em Londres. Com esta participação, o país começou a preparar exposições nacionais para organizar e selecionar coleções de produtos a serem apresentados nas Exposições Internacionais. De 1861 a 1889, o Brasil organizou cinco Exposições Nacionais. Explorando estes eventos, e através da análise das descrições, documentos iconográficos, a análise do enquadramento histórico, e a circulação do conhecimento trocado, é possível investigar as coleções industriais que foram apresentadas nas Exposições Nacionais e Internacionais e a museografia utilizada nestas apresentações. O nosso objetivo é também identificar a existência de objetos apresentados nas Exposições que hoje se encontram nos museus brasileiros; Trajectory of collections and Museography of the Brazilian Industrial Exhibitions: from National to International Exhibitions in the XIX century Abstract: This research aims to analyse and detail information about the presentation of industrial collections in the Universal and Brazilian National Expositions in the 19th century. The first Brazilian official participation in a Universal Exhibition was in 1862 in London. With this participation, the country began to prepare national exhibitions to organise and select collections of products to be presented in the International Exhibitions. From 1861 to 1889, Brazil organised five National Exhibitions. Exploring these events, and through analysing the descriptions, iconography documents, the analysis of the historical framework, and the circulation of knowledge exchanged, it is possible to investigate the industrial collections that were presented in the National and International Exhibitions and the museography used in these presentations. We also aim to identify the existence of objects presented in the Exhibitions that are now found in Brazilian museums; Trajectoire des collections et muséographie des expositions industrielles brésiliennes:des expositions nationales aux expositions internationales au XIXe siècle Résumé: Cette recherche vise à analyser et à détailler les informations relatives à la présentation des collections industrielles dans les Expositions universelles et nationales brésiliennes du XIXe siècle. La première participation officielle du Brésil à une exposition universelle a eu lieu en 1862 à Londres. Avec cette participation, le pays a commencé à préparer des expositions nationales pour organiser et sélectionner des collections de produits à présenter dans les expositions internationales. De 1861 à 1889, le Brésil a organisé cinq expositions nationales. En explorant ces événements, et à travers l'analyse des descriptions, des documents iconographiques, de l'analyse du cadre historique et de la circulation des connaissances échangées, il est possible d'étudier les collections industrielles qui ont été présentées dans les Expositions nationales et internationales et la muséographie utilisée dans ces présentations. Nous cherchons également à identifier l'existence d'objets présentés dans les expositions qui se trouvent aujourd'hui dans les musées brésiliens.

Studies of nineteenth-century stained glass are sparse, and tend to focus on the medium in its ecclesiastical and architectural settings. This thesis broadens such approaches by placing stained glass in its wider cultural, political, economic and global contexts by considering its display at ten international exhibitions held in England, France, the USA and Australia between 1851 and 1900. These temporary exhibitions provide a unique vantage point from which to survey the perception, practice, and status of stained glass during the peak of the medium’s revival. Drawing on contemporaneous written and visual sources, as well as recent studies of nineteenth-century culture, this study explores the extent to which the international displays of stained glass at these exhibitions shaped and developed the appreciation, application, understanding and permeation of stained glass throughout the nineteenth-century. This thesis demonstrates how the classification and various modes of displaying stained glass impacted future perceptions and displays of the medium. It considers the ways in which stained glass was part of a broader culture of spectacle in this period. It identifies those who made and exhibited stained glass for display at the international exhibitions, revealing their motives for participating and additional roles as reviewers and judges of exhibits. This project reveals, for the first time, the significance of the international exhibitions in the history of stained glass. It draws on nineteenth-century critical reviews, visual records and exhibits (both extant and non-extant) and offers close readings of specific stained glass exhibits, which are analysed in relation to stylistic developments, and to medieval and modern glazing techniques. Finally, the thesis demonstrates how stained glass was a symbolic and iconographic vehicle for expressions of nationalism and imperialism at these international events. By considering the presence of stained glass in the international exhibition environments, this thesis suggests the medium is a crucial and neglected aspect of nineteenth-century modernity.

En España, al igual que en el resto de países europeos a finales del siglo XIX y principios del XX, se hace exhibición de "lo primitivo": personas (indígenas procedentes de los nuevos territorios colonizados) y objetos (piezas de arte y artefactos de la cultura material de los indígenas procedentes de las colonias). Algunas de estas muestras coinciden con las primeras exposiciones organizadas en España: Exposición General de las Islas Filipinas en Madrid (1887), Exposición Universal de Barcelona (1888) y Exposición Internacional de Barcelona (1929). El presente trabajo analiza la presencia o ausencia de "lo primitivo" (personas y objetos) en los principales acontecimientos expositivos españoles, su relación con acontecimientos homónimos en otros países europeos y su posible recepción en colecciones museísticas (museos de antropología, etnología y misionales).<br>In Spain, as in the rest of European countries at the end of the nineteenth century and beginning of the twentieth, aboriginal from the new colonized territories and "primitive" objects (art and artefacts from the material culture of the colonies) were also exhibited. Some of these events coincide with the first organized Exhibitions in Spain: General Exhibition of the Philippines Islands in Madrid (1887), Barcelona World Exhibition (1888) and Barcelona International Exhibition (1929). This work analyzes the presence or absence of "the primitive" (people and objects) in the major Spanish exhibitions, the relationship with similar events in other European countries and the possible reception in museum collections (museums of anthropology, ethnology and missionary).

This thesis considers a period when ideal sculptures were increasingly reproduced by new technologies, different materials and by various artists or manufacturers and for new markets. Ideal sculptures increasingly represented links between sculptors’ workshops and the realm of modern industry beyond them. Ideal sculpture criticism was meanwhile greatly expanded by industrial and international exhibitions, exemplified by the Great Exhibition of 1851, where the reproduction of sculpture and its links with industry formed both the subject and form of that discourse. This thesis considers how ideal sculpture and its discourses reflected, incorporated and were mediated by this new environment of reproduction and industrial display. In particular, it concentrates on how and where sculptors and their critics drew the line between the sculptors’ creative authorship and reproductive skill, in a situation in which reproduction of various kinds utterly permeated the production and display of sculpture. To highlight the complex and multifaceted ways in which reproduction was implicated in ideal sculpture and its discourse, the thesis revolves around three central case studies of sculptors whose work acquired especial prominence at the Great Exhibition and other exhibitions that followed it. These sculptors are John Bell (1811-1895), Raffaele Monti (1818-1881) and Hiram Powers (1805-1873). Each case shows how the link between ideal sculpture and industrial display provided sculptors with new opportunities to raise the profile of their art, but also new challenges for describing and thinking about sculpture.

The present thesis is composed of three papers that are quite diverse, as for inspiration, context, addressed topics, and methodologies, but share two common elements. The first is the study of technology and innovation in a historical perspective, motivated by the belief that such a perspective is crucial to that study. A second fil rouge is the use of data from international exhibitions, the bulk of data originated from which has so far been exploited by economic historians only to a limited extent, in spite of these events being among the most characteristic ones of the second half of the nineteenth and of the early twentieth century. The first paper, "Patents, exhibitions and markets for innovation in the early twentieth century: Evidence from Turin 1911 International Exhibition", discusses the nature of international exhibitions, the role they played in the early twentieth century, the reasons why economic agents attended them, the relationship between exhibition data and patent data, and their suitability for measuring innovation. To do so, it conducts an in-depth analysis of the International Exhibition held in Turin in 1911, matching a new database built from the catalogue of this event with data about patents granted in Italy. The paper finds that exhibiting and patenting did mostly occur separately, as the exhibition mainly worked as a market for products, which attracted firms, while patents were primarily taken out by individuals, most of whom might not be interested in that function. Yet, the presence is observed of a qualified niche of independent inventors, using the exhibition as a market for ideas, i.e. to advertise their findings to a selected public of potential investors, buyers or licensees. The second paper, "Does innovation foster business profits? Evidence from Italy, 1913-1936", investigates whether innovation (proxied by both patent and exhibition data) fostered business profits in Italy in the late Liberal age (i.e. the years preceding the First World War) and in the inter-war period. No evidence is found of a positive short-term effect of innovation on profitability, which contrasts with the findings of previous empirical economic analyses, but is in line with historiographical accounts, pointing out the scarce relevance of innovation in Italian development. However, a possibly more relevant long-run effect is observed, as patenting firms were more likely to survive. This pattern is reversed, if exhibition data is employed to gauge innovation, instead of patent data: indeed, exhibiting entailed a boost in short-term profitability (deriving from publicity and reputation effects), but not a long-run benefit, in terms of survival. In other words, exhibiting, unlike patenting, did not help developing firm capabilities - which questions its validity in effectively representing innovation. Based on the recognition that the products displayed at international exhibitions were not only innovative ones, and that the main motivation for participating in exhibitions was commercial, an alternative interpretation of exhibition data is suggested in the third paper of this thesis, "The specialisation and economic complexity of countries through the lens of universal exhibitions, 1855-1900", as an indicator of what was produced and promoted on international markets by countries that participated to these events. Using data from the five expositions universelles held in Paris in the second half of the nineteenth century (1855, 1867, 1878, 1889, and 1900), this paper explores potential applications of this view: in particular, it computes specialisation and "economic complexity" indices for a large number of countries over an extended time period, and discusses their implications for economic development.

Australia’s relationship with the rest of the world was particularly complex in the two decades of acute economic, political, and social crises between World War One and Two. This thesis argues that Australia employed visual arts exhibitions in the national interest within its foreign policy stance to amplify and recruit allies for its response to this complexity and that it did so to both international and domestic audiences. Six visual arts exhibitions between 1918 and 1941 have been selected to illustrate this transactional Australian cultural diplomacy within the decline of the European empires, the establishment of the League of Nations in 1920 and the rise of American power after 1930. The thesis opens with the nation a member of the British War Office in 1918 and ends with Australia a member of the Pacific War Council which formed in Washington DC in 1942. While post-WWII initiatives in cultural diplomacy have been studied, their antecedents have been rarely noted in either the literature on Australian diplomacy, or within the history of Australian art and its exhibition. This thesis seeks to address this oversight, necessarily doing so from a broad multidisciplinary perspective. The profiled exhibitions are detailed as to their origins and content within their historical backdrop, the politics and the people involved. The thesis argues that visual arts exhibitions established a distinguishing aspect of national projection in the interwar period, one which remains embedded in policy and the public cultural programs of government and the national, state, and regional art galleries. I draw three principal findings from the presented research. The exhibitions discussed enrich our knowledge of the various ways the nation managed its strategic interests as an internationally aligned nation after 1918. Secondly, it addresses a gap which will continue while the many public actors captured by cultural diplomacy - the participants, their objectives and location, institutional arrangements, and foreign and strategic policy – are investigated in isolation from each other. Finally, my hope is that this thesis will make an original contribution to an understanding of the role of exhibitions within the modernisation and the cosmopolitanising of the nation, including the important contribution of artists and arts institutions, business, and public administrators to those exhibitions in the inter-war period.

Les Etats post-soviétiques participent à la Biennale d’art contemporain de Venise depuis les années 1990. Ils ont montré, dans les pavillons nationaux, tout au long de leur participation et de manière récurrente, des images de souffrance physique, de catastrophe sociale et de traumatisme politique. Ce thèse vise à analyser les causes possibles d’une telle insistance sur la représentation de la catastrophe en les liant aux enjeux politiques, économiques et artistiques qui déterminent, pour ces Etats, leur participation aux foires artistiques internationales.Ces pays post-soviétiques vérifient, en premier lieu une transformation radicale de la culture politique moderne: en quelques décennies, l'idéal orienté vers un avenir de progrès et de liberté a été remplacé par la célébration douloureuse d’un passé décliné sous une forme victimaire. Une telle transformation s'est accompagnée d'un changement de certains idéaux sociaux caractéristiques de la mythologie communiste : "Au centre de la culture historique moderne n'est plus l'idéal du héros, mais l'idéal de la victime". Le statut privilégié de la victime dans les années 1990 a créé alors de nouvelles formes d'auto-représentation et de politique identitaire : l'Arménie, un pays avec une longue tradition de souffrances depuis le génocide du début de siècle, ou les pays baltes, après l'effondrement de l'Union soviétique, ont construit leur identité sur le rôle de victime, en transformant l'histoire traumatique de la répression stalinienne et de l'occupation soviétique en glorification collective du passé misérable de leur peuple... Des expositions pour la Biennale illustrent visuellement, et avec une ferveur presque religieuse, cette histoire sacrificielle, représentant la résistance à la violence et le catastrophe vécu par le peuple comme origine héroïque de la naissance des nations. La célébration des catastrophes fonde une nouvelle conception de l'identité nationale. L'histoire traumatique, encore activement présente dans la mémoire vivante des contemporains, est transformée en objet esthétique et incluse dans le système international des manifestations artistiques<br>The post-Soviet states have been participating in the Biennale of Contemporary Art in Venice since the late 1990s. They have constantly shown, in their national pavilions and throughout their participation, images of physical and social suffering and trauma. The PHD project analyse the possible causes of such an insistence on the representation of the suffering of people by linking them to the political, economic and artistic stakes that determine, for these states, their participation in international art fairs.These post-Soviet countries mainly deal with a general phenomenon which in political science has been called the conflict or the competition of victims. Victims compete for a bigger role in social memory. The historian Martin Sabrov asserts that a radical transformation of modern political culture took place: within a few decades, the ideal oriented towards a future of progress and freedom has been replaced by the painful celebration of a past haunted by victimhood. Such a transformation was accompanied by a change in certain social ideals characteristic of communist mythology: “At the center of modern historical culture is no longer the ideal of the hero, but the ideal of the victim.” The privileged status of the victim in the 1990s created new forms of self-representation and identity politics: Armenia, a country with a long tradition of suffering since the genocide of the turn of the century, and the Baltic countries, after the collapse of the Soviet Union built their identities on the role of the victim, transforming the traumatic history of Stalinist repression and the Soviet occupation into a collective glorification of the miserable past of their people. Exhibitions for the Biennale illustrate visually, and with almost religious fervour, this sacrificial history, representing the resistance to violence and the miserable destiny of the people as the heroic origin of the birth of nations. The celebration of heroic and miserable victims is the foundation of a new conception of national identity. Traumatic history, still actively present in the living memories of contemporaries, is transformed into an aesthetic object and included in the international system of artistic manifestations

Although cultural diplomacy has become an increasingly fashionable term embraced by academics, foreign-service personnel, and private sector commercial and cultural interests, the very practice of this idea remains conspicuously challenging to define. This thesis attempts to take on this problem, advancing a new understanding of cultural diplomacy that results from a historical investigation of a single area of government and private sector partnership, and what became in the mid-twentieth century the most prominent manifestation of this alliance—the cultural exhibitions sent abroad to “tell America’s story” with the goal of “winning hearts and minds.” To illustrate this point, selected exhibitions and the intentions of the policymakers who proposed them are interrogated beside archival documentation, writings from the history of design, advertising, science, as well as art historical and museum studies theories that address various aspects of the history of collecting and display, all of which explore the reality of how these exhibitions were conceived and prepared for foreign audiences. Through this discussion it is important to ask: What was America showing of itself through these exhibitions? And, more urgently, what do these exhibitions tell us about U.S. interest in verisimilitude? This investigation spans the crucial years of American exhibitions abroad (1955-1975), beginning with the formation of an official system of exhibiting American commercial wares and political ideas at trade fairs, through official exchanges with the U.S.S.R., to pavilions at world's fairs, and finally to museum exhibitions that signaled a return to the display of founding American values. They are thus complex ideological symbols in which concepts of national identity, globalization, technology, consumerism, design, and image management both coincided and clashed. The investigation of these exhibitions enhances the understanding of a significant chapter of U.S. cultural diplomacy at the height of the Cold War and how America constantly reimagined itself.

Apparitions of empire and imperial ideologies were deeply embedded in the International Exhibition, a distinct exhibitionary paradigm that came to prominence in the mid-nineteenth century. Exhibitions were platforms for the display of objects, the movement of people, and the dissemination of ideas across and between regions of the British Empire, thereby facilitating contact between its different cultures and societies. This thesis aims to disrupt a dominant understanding of International Exhibitions, which forwards the notion that all exhibitions, irrespective of when or where they were staged, upheld a singular imperial discourse (i.e. Greenhalgh 1988, Rydell 1984). Rather, this thesis suggests International Exhibitions responded to and reflected the unique social, political and economic circumstances in which they took place, functioning as cultural environments in which pressing concerns of the day were worked through. Understood thus, the International Exhibition becomes a space for self-presentation, serving as a stage from which a multitude of interests and identities were constructed, performed and projected. This thesis looks to the visual and material culture of the International Exhibition in order to uncover this more nuanced history, and foregrounds an analysis of the intersections between practices of exhibition-making and identity-making. The primary focus is a set of exhibitions held in Glasgow in the late-1880s and early-1900s, which extends the geographic and temporal boundaries of the existing scholarship. What is more, it looks at representations of Canada at these events, another party whose involvement in the International Exhibition tradition has gone largely unnoticed. Consequently, this thesis is a thematic investigation of the links between a municipality routinely deemed the ‘Second City of the Empire’ and a Dominion settler colony, two types of geographic setting rarely brought into dialogue. It analyses three key elements of the exhibition-making process, exploring how iconographies of ‘quasi-nationhood’ were expressed through an exhibition’s planning and negotiation, its architecture and its displays. This original research framework deliberately cuts across strata that continue to define conceptions of the British Empire, and pushes beyond a conceptual model defined by metropole and colony. Through examining International Exhibitions held in Glasgow in the late-Victorian and Edwardian periods, and visions of Canada in evidence at these events, the goal is to offer a novel intervention into the existing literature concerning the cultural history of empire, one that emphasises fluidity rather than fixity and which muddles the boundaries between centre and periphery.

This thesis discusses nineteenth- and early twentieth-century representations of Brazil, with em-phasis on Brazilian national identity and the country’s engagement with modernity. It addresses these broad themes by focusing on the national participation in key international exhibitions, from Brazil’s first official appearance at the International Exhibition of 1862 in London to the Brazilian Centennial Exposition held in Rio de Janeiro in 1922. Using a multidisciplinary theoretical and methodological framework, this thesis examines ‘national objects’ – exhibits, exhibition displays, publications and pavilions – shown at home and abroad. It questions what sort of national identity these objects materialised and how they propelled Brazilian experience of modernity. Despite being a multicultural and diverse country, from 1862 to 1922 Brazil was frequently repre-sented by its exhibition commissioners as a homogeneous and cohesive nation. In less than a hun-dred years, Brazil turned from being a liberal but slavery-bound Empire to become an oligarchic Republic. Alongside manumission, urban expansion, and industrialisation, the nation underwent unprecedented political, economic, and cultural changes. These changes, however, were displayed differently at home and abroad. This thesis, thus, is concerned with the cleavages in the national representation from the Empire to the Republic and questions what sort of nation was being repre-sented abroad, and why. This thesis reveals that the Brazilian exhibitionary efforts during this period largely excluded representations of its population, especially of those who did not conform to the modern and civi-lised images attributed to the nation by the state. It also sustains that, despite their commercial and economic imperatives, exhibitions were used by the Brazilian state, during Empire and Republic, for the affirmation and conservation of political power. This thesis is tested in five chapters. The first discusses previous attempts at studying exhibitions in Brazil and abroad, and defines the con-cepts considered in this thesis. The second chapter addresses issues of agency and representation by examining the imperial representation sent to the Centennial International Exhibition in Phila-delphia in 1876. The third chapter focuses on two exhibitions, one Imperial and one Republican, to enquire about ruptures and continuities in the Brazilian representation abroad. This chapter centres on the displays of Brazilian raw materials mounted at the Exposition Universelle of 1867 in Paris, and at the Louisiana Purchase International Exposition in St Louis in 1904. The fourth chapter examines objects that communicated Brazilian ‘civilisation and progress’ at the World's Columbian Exposition in Chicago in 1893. These objects were used by the newly instated republi-can government to manipulate national historical symbols that legitimised their ascension to power and promoted them as the future. The final chapter investigates the Rio exhibition in 1922 as a place where modernisation and modernity were made visible for a Brazilian audience.

On the basis of the art and architectural displays at the 1878 Exposition Universelle Internationale à Paris, this thesis investigates the conflicting claims of nationalism; the late nineteenth-century tensions between tradition and modernity; and the disparities between the intentions of the organizers and the perceptions of the visitors. Creating connections between methodological and theoretical issues of interest to art history and museum studies, the argument explores further and refines our understanding of what has been constitutive of Exhibitions. This thesis takes the 1878 Exposition Universelle Internationale à Paris as its focus, in order to further appreciate the extent to which Exhibitions were able to influence their visitors’ minds and bodies. It scrutinizes a wide range of material generated as part of the national participation of the United Kingdom to this event in specific case studies for both breadth and depth of understanding. The examination of material published in 1878 newspapers provides evidence of a critical gaze within the Exhibition boundaries. International and universal Exhibitions have been significant events in producing and conveying various messages about diverse topics to unprecedentedly large audiences. Their rich content entailed the production and consumption of diverse experiences and meanings beyond attempt of controlling bodies and behaviours. The study of the British participation in the 1878 International Street or Rue des nations uncovers the tensions between symbols, taste and technology in architecture. Original research in the archives of the Royal Academy of Arts, London, gives a particular insight in the role of a key institution in the preparation of a national visual arts exhibition in the 1878 Paris Exposition. The examination of the reception of a particular artwork provides a useful counterpoint to these first institutionally-oriented analyses. Focusing on W. P. Frith’s The Railway Station (1862) offers a different perspective to understand the way a vast array of contemporary meanings could impact the reception of a particular work. The investigation of the critical reception of British paintings in 1878 France emphasizes the strength of cultural narratives beyond the specific vision for the Exhibition.

Notre étude porte sur la présence des artistes grecs(peintres, sculpteurs, graveurs) aux manifestations universelles et internationales qui se sont déroulées dans de différentes villes européennes, durant les quarante premières années du XXe siècle.Effectuée principalement aux catalogues officiels des expositions traitées, notre recherche a essayé d’appréhender l’activité artistique des hellènes, en la situant dans un contexte culturel international(expositions universelles et/ou internationales) et dans un cadre chronologique précis (1901-1939) ; pour ce faire, nous avons tenu compte des divers paramètres sociaux, politiques et intellectuels, qui ont régi deux réalités historiques et géographiques : d’un côté la Grèce, un état jeune dans toutes ses manifestations, et de l’autre côté l’Europe de la Grande Guerre, du progrès industriel et des avant-gardes<br>Our study focuses on the presence of Greek artists(painters, sculptors, engravers) in the universal and international exhibitions, that took place in various European cities during the first forty years of the 20th century.Our research, which was principally carried out in the official catalogues of the presentations in question, attempted the approach and in-depth comprehension of the artistic activity of the Greeks, placed in an international cultural context(universal and international exhibitions in Europe) and in a specific chronological frame(1901-1939). For this to be achieved, we took into consideration the diverse social, political and cultural parameters that ruled two different realities; on the one hand, Greece, a “young” country in all it’s manifestations and on the other hand, Europe of the Great War, industrial progress and the “avant-garde”

The Meeting, Incentive, Convention and Exhibition (MICE) industry, including conferences and trade shows, is a large and rapidly growing industry over the recent decade. Its growth not only brings benefits for the tourism sector, but also delivers many other potential benefits to host nations. In Thailand, the tourism and MICE industry is a major economic factor as it generates a huge amount of revenue. However, the Thai MICE industry is subject to market fluctuations and sustainable growth is difficult to maintain. Hence, this research examines the factors which influence the decisions of delegates to participate in international conventions as well as factors or criteria influencing organising committees and planners take into consideration when holding international conventions, along with an investigation to the potential of Thailand as a MICE destination, and the positioning of Thailand as a hub for the international conference and convention industry in Asia. The research also aims to identify any factors which limit the potential growth of Thailand as an international hub for the MICE industry through a Strength, Weakness, Opportunities and Threats (SWOT) analysis. The guidelines for a best practice and specifically implemented development policies including marketing strategies are developed, as well as recommendations to help Thailand become a sustainable hub for the international convention industry in Asia. A mixed-methods was employed to collate both the qualitative and quantitative data obtained from the delegates, convention organising committees and planners. The methods entailed interviews, a focus group, and responses of open-ended questions from questionnaire surveys to collate qualitative data, and a questionnaire survey was employed to collect the quantitative data. The data obtained through the qualitative and quantitative methods was triangulated in order to complement the weaknesses of one approach with the strengths of another. The result of the questionnaire survey revealed that 86 percent of the respondents agreed that Thailand has the potential to become a major MICE destination and a hub for the international convention industry in Asia, due to the advantages that Thailand offers as a destination, such as service quality; affordability and value for money; tourism activities; the attractiveness of destination; intervening opportunities; destination image factor; safety and security issues; the standardisation of hotels and accommodation; the quality of the facilities, and standardisation of the conference venue; and the quality and sufficiency of food and beverages. However, the weaknesses of Thailand as a MICE destination include other opportunities; long haul flights or travelling distances and political instability. Following triangulation with the qualitative results, it was recommended that Thailand needs to create its own events particular relevant to agriculture which Thailand does best with help from MPs, CVBs, service providers, as well as employing a diversity of strategies, including the marketing mix beyond 8Ps.

Ce travail constitue la première thèse intégralement consacrée à l’exposition internationale de musique et de théâtre qui s’est tenue à Vienne en 1892. Il s’inscrit dans la continuité des recherches menées sur les expositions universelles et analyse le cadre général de l’exposition depuis sa genèse jusqu’à sa clôture, la scénographie, les différents événements et les principaux acteurs afin d’en comprendre le fonctionnement, la densité mais aussi la complexité. Une place importante est accordée aux échos que l’exposition rencontra dans la presse autrichienne et française. Parallèlement, il associe une étude des enjeux identitaires de l’exposition avec une analyse du point de vue de l’histoire de la vie musicale et de l’histoire des sciences musicales. Les contradictions entre l’idée de départ du projet et sa réalisation finale sont prises en compte, tout comme la diversité du public, la place des peuples de l’Empire ou encore celle des pays lointains présentés dans la section ethnographique. Ces interactions permettent d’aborder la « culture viennoise » comme réponse aux tensions de la fin de siècle et d’analyser les procédés mis en œuvre pour la définir. La question de la réception de l’exposition soulève aussi celle de la mise en scène du passé viennois et d’une tradition viennoise revisitée (reconstruction du vieux Vienne, renaissance du théâtre populaire) face aux transformations issues de l’industrialisation et de la transformation de la société. En croisant ces approches, il s’agit d’analyser en profondeur les enjeux et les conséquences de ce projet, dans le cadre d’une histoire culturelle sensible à leur dimension politique, artistique et scientifique<br>This work is the first thesis entirely devoted to the international exhibition of music and theater organized in Vienna in 1892. It is in line with the research carried out on universal exhibitions and analyses the general framework of the exhibition from its genesis to its closure, the scenography, the various events and those involved in order to understand its functioning, its density but also its complexity. An important place is given to the repercussions that the exhibition will have on the Austrian and French press. This thesis aims at the same time to combine a study of the identity issues of this exhibition with analysis from the point of view of the history of musical life and the history of musical sciences. The contradictions between the initial idea of the project and its final realization are taken into account, as well as the diversity of the public, the place of the peoples of the Empire or that of distant countries presented in the ethnographic department. These interactions make it possible to approach “Viennese culture” as a response to the tensions of the end of the century and to analyse the processes used to define it. The question of the reception of the exhibition also raises the question of the staging of the Viennese past and a revisited Viennese tradition (reconstruction of the old Vienna, rebirth of popular theater) in face of the transformations resulting from industrialization and the transformation of society. By joining these approaches, it will be possible to analyze in depth the stakes and consequences of this project, within the framework of a cultural history responsive to their political, artistic and scientific dimension

This practice-based PhD, titled The Itinerant, proposes a concept for exhibiting processes, detected along a route thought through various frames of geopolitical relations. Its point of departure is framed by a declaration of solidarity via statesocialist institutions, of the German Democratic Republic (GDR), in particular, with revolutionary independence movements, such as the P.L.O. (Palestinian Liberation Organization), manifested in educational collaborations around image production. The project is built around the micro-political potency of a non-institutional archive of photographic images arriving from the GDR and P.L.O. in the 1980s, and therefore intends to enact the emergence of a vocabulary for deconstructing macropolitical narratives of global Cold War histories. The work of deconstruction thus begins within the micro-political dimension of an archive whose mode of existence may even be limiting our ability to speak of an 'archive' in the common sense. Hence, the inherent archival function of the photographic image transforms the materiality at stake; it may decompose itself, or end up working against itself. Such work is absolutely necessary for the possibility of undoing the exhibition as a territorial and synchronic entity, as a major responsibility in exhibiting making in the early 21st century, when globalisation takes place in capital and data. The focus of investigation inhabits the actual working conditions of making and exhibiting photographs as rehearsed in a series of educational gatherings around photography, which unfolded throughout the 1980s in Beirut, East Berlin and Tunis between the East German photographer Horst Sturm and former fedayeen / then photographers of the Palestinian Liberation Organization (P.L.O.), and which helped place the call for the liberation of Palestine on an international and public display. The Itinerant is the first project attempting to complicate the support for the Palestinian liberation movement by discussing image/exhibition production based in geopolitically defined ideologies of a socialist internationalism during the global Cold War. The collapse of the socialist project in 1989 that spilled into world-fracturing events demands that we situate ourselves within the changing geopolitical and economic order of the world. This project resonates deeply in an intergenerational contract along the continuities and discontinuities of that kind of internationalism, and thus takes a position within the realms of knowledge embodied by members of societies that experienced and are experiencing in everyday life the collapsed or as yet-unfinished project of becoming independent in relation to globalising powers of capitalism or from Western narratives of history. Such investigation results in the necessity to conceive photography as a network of practices, which activates a spatiality between ‘here and elsewhere,’ the two being, simultaneously, the conditions of production. In other words, photography can be mobilised here through a deep questioning of its entangled practices, processes and conditions: firstly, as the continuation of a militant struggle by other means including a discussion on the question of solidarity, violence and economics; and secondly, as complex exhibiting processes in geopolitics, which demands to take position, not on-behalf of, but to speak from one’s own position for a Cause emerging today out of the problems of exhibition making in the field of contemporary art. I speculate about this network of practices as being constitutive of a concept of exhibiting in the geopolitics of the 21st century. The thesis is repeatedly framed by a single sentence by Jean Genet, whose book Un Captif amoureux (1986) has provided a crucial resonating body and interlocutor throughout the entire research process. The multiple returns demonstrate a possibility to labour the complex set of layers that such geopolitical relations constitute. In my attempt to dedicate the practice-based and theory-driven research to anti-colonial thinking, the thesis takes distance from producing a ready-to-use or copy/paste manual for ‘curatorial practice’ commonly understood as placing objects and/or images on public display. This contextualisation demands situating this research within a trans-disciplinary setting, i.e., The Itinerant entangles concepts from theory, lived experience, living memory, from travelling and teaching, from academia, the means of art, and from the militant struggle. My approach wishes to open up towards a thinking that affords the possibilities of transversing disciplines, regions, geographies, time-zones, borders, generations and economic systems from which a geopolitics emerges. Such possibilities shift from space to spatiality in exhibition-making. This geopolitical concern implicates us today in the prolonged conflicting wills in the Middle East, in which taking a binary position would perpetuate two strong forces of European enlightenment: representation and individualism. In this frame, an exhibition can only be a symptom as it insists on being interpreted, this being, in itself, a symptom of the limits of European modernity. The thesis discusses in seven chapters and two inserts (Transit A and Transit B) the projects, practices, proposals and positions by Ariella Azoulay, Bruno Barbey, Heike Behrend, Berthold Beiler, Jacques Derrida, Richard Dindo, Dziga Vertov Group, Tarek Elhaik, Okwui Enwezor, Kodwo Eshun/Ros Gray, Frantz Fanon, Subversive Film (Reem Shilleh/Mohanad Yaqubi), Mark Fisher, Jean Genet, Iris Gusner, Joachim Hellwig, Tariq Ibrahim, Youssef Khotoub, Armin Linke, Achille Mbembe, Reinhard Mende, Heiner Müller, The Otolith Group, Griselda Pollock, Evelyn Richter, Irit Rogoff, Suely Rolnik, Abderrahmane Sissako, Terry Smith, Susan Sontag, Gayatri Chakravorty Spivak, Hito Steyerl, Horst Sturm, Clemens von Wedemeyer, a.o.

Em finais da década de 1930, mais especificamente entre 1937 e 1940, o estado brasileiro se fez representar internacionalmente com a construção oficial de pavilhões nacionais em quatro grandes exposições universais: a Exposition Internationale des Arts e Techniques dans la Vie Moderne (Paris, 1937); a New York Worlds Fair (1939-1940), a Golden Gate International Exposition (São Francisco, 1939-1940) e a Exposição do Mundo Português (Lisboa, 1940). Procedentes de uma tradição de quase um século de grandes exposições universais, chama atenção as particularidades do cenário político internacional em que esses eventos tiveram lugar: a década de 1930 se caracterizou por crises econômicas em escala global, pela força dos discursos nacionalistas, pela ascensão em suas vertentes tanto mais brandas quanto mais terríveis da chamada política de massas e, já em seus últimos anos, pelo início da Segunda Guerra Mundial. Tampouco o cenário nacional brasileiro da década de 1930 seria tranquilo, marcado por instabilidades, a subida ao poder de Getúlio Vargas e finalmente o golpe que daria início à política ditatorial do Estado Novo. A presente tese aborda a idealização, concepção arquitetônica e concretização espacial dessas exposições bem como a participação brasileira nesses processos problematizando suas inserções no contexto arquitetônico e político do período em que foram realizadas. Busca-se entender as articulações e circuitos diversos de negociação, referência e disputa pelos quais as decisões no campo da arquitetura relacionaram-se com as múltiplas escalas de poder e projetos políticos na conformação desses espaços de representação.<br>In the late 1930, more specifically between 1937 and 1940, the Brazilian State represented itself internationally with the construction of official national pavilions on four great Worlds Fairs: the Exposition Internationale des Arts and Techniques dans la Vie Moderne (Paris, 1937); the New York World\'s Fair (1939-1940), the Golden Gate International Exposition (San Francisco , 1939-1940,) and the Exposição do Mundo Português (Lisbon, 1940). Coming from a tradition of nearly a century of World\'s Fair, there were some particularities in the international political scenario in which these events took place: the decade of 1930 was characterized by economic crises on a global scale, by the strength of nationalist speeches, by the rise in its more tender and most terrible aspects of the so-called policy of masses and, in its later years, by the beginning of World War II. Either the Brazilian national scenario of the decade of 1930 would be peaceful, marked by instability, the rise to power of Getúlio Vargas and finally the coup that would begin the dictatorial period of the Estado Novo. This thesis discusses the idealization, architectural conception and implementation of these Worlds Fairs as well as the Brazilian participation in these processes drawing attention to the architectural and political context of the period. The aim is to understand the connections and circuits of negotiation, reference and dispute in which the decisions in architectural specific field related with the multiple scales of power and political projects in the conformation of these spaces of representation.

Le musée contemporain ne se caractérise plus seulement comme un lieu voué à préservation, conservation et présentation des collections mais comme un lieu inscrit dans des réseaux, comme le montre l'étude de la politique de diffusion : celle-ci est l'objet de ma thèse en sciences de l'information et de la communication intitulée " La diffusion culturelle à l'échelle internationale : les enjeux de la politique du prêt des œuvres et des expositions du Mnam-Cci (Centre Georges Pompidou) pendant la période 2000-2007 ".Le Mnam-Cci est l'un des plus importants musées au monde grâce à sa collection d'art moderne et contemporain. Il offre non seulement des expositions temporaires mais aussi de nombreuses activités culturelles : cinémas, conférences, concerts, spectacles. Sa collection se compose de 60 000 œuvres, est empruntée auprès des musées du monde entier.Compte tenu de la richesse de la collection, la politique du prêt des œuvres est l'une des stratégies importantes du musée. Dans la perspective d'une étude muséologique, l'analyse de la politique du prêt des œuvres nous paraît des plus pertinentes.La première partie de la thèse met en évidence les mécanismes de la circulation des œuvres et celles des expositions dans un contexte des territoires à l'échelle internationale. La deuxième partie de la thèse décirt la circulation des biens culturels à l'heure de la mondialisation. La dernière partie de la thèse montre le développement de la stratégie communicationnelle à l'échelle internationale à travers la politique de diffusion.C'est ainsi que ce travail montre la diffusion culturelle à l'échelle internationale par l'intermédiaire de la politique du prêt des œuvres et des expositions du Mnam-Cci.

Thesis (MComm)--University of Stellenbosch, 2004.<br>ENGLISH ABSTRACT: The legalisation of gambling in South Africa was perceived by many as an unnecessary vice that would bring social decay in a country that is already battling to cope with a wide array of social woes, such as unemployment, crime, etc. Anti gambling protestors argued that South African society is not sufficiently developed to cope with an industry that diverts money from normal household budgetary expenditure patterns to the many forms of gambling that suddenly became legal. Protestors also argued that gambling tax is just another tax on an already overtaxed society. Many of these arguments were justified and the legalisation of gambling was clearly an issue, which had to be dealt with carefully. Politicians, the custodians of a well-managed political system through pro-active policies that will be to the benefit of a country and its people were in a particularly difficult position with the creation of a legalized gambling industry and had to weigh policy between the advantage of additional tax revenue and the disadvantage of adding to the social ills of South African society. In terms of the Constitution of South Africa gambling was a concurrent competence and the respective provinces had an opportunity to develop gambling policy that will be beneficial to the relevant province. Although the national Gambling Act provided the broad parameters in which provincial legislation had to be developed, provinces had ample opportunity to be innovative in respect of provincial gambling legislation. After the legalisation of gambling provinces moved quickly to ensure that casinos were developed, mainly to create a larger revenue base through gambling tax. Most provinces were cash-strapped, as their share of the national budget was not sufficient to deal with the long list of provincial development priorities. A way had to be found to supplement the national government contributions and gambling tax was an attractive option. The Western Cape Province moved somewhat slower in the promulgation of provincial gambling legislation. There was a clear realisation that gambling was going to have a massive social impact on the population of the Western Cape and therefore had a clear objective to find ways to develop casinos in such a way that it would offset the negative impact of gambling. This thesis did not place any emphasis on the quantification of the social impact (such as lack of productivity, loss of employment, bankruptcy, domestic violence, divorce, etc). The objective was to show that the allocation of a gambling licence could be used to create infrastructure that is not linked or related to a casino. Such infrastructure is normally in high demand in cities or regions, which are emerging as tourist destinations, but the infrastructure would not be developed by the government, as the capital cost is too high, nor by the private sectors as the profit margins are too low. The Western Cape used its allocation of five casino licences in terms of the National Gambling Act to create an impact on the whole of the region by dividing the province into five regions and allocating a casino licence to each of the regions. Since 1994 Cape Town and the Western Cape have gained prominence internationally as a tourist destination. It was soon clear that the city and region would not be able to cope with the influx of tourists due to a lack of hotel rooms and other tourism infrastructure. It was also clear that the tourism industry would not show the required growth without facilities, such as a convention centres. It is particularly a convention centre that became an urgent element in Cape Town as convention business has become a rapidly growing business with a potentially significant impact in terms of convention expenditure and the resulting economic impact on a city. The Western Cape developed gambling policy determinations made it clear that in the case of the five regions, casino bid companies were obliged to include tourism infrastructure that would add value to a particular region. It was made clear that such infrastructure should not necessarily be linked with a casino and could be off-site. The policy determinations were clear in its stipulations that stand-alone casinos would not be entertained in the adjudication process. The development of an international convention centre became an important criterion in the allocation of a casino licence in the Cape Metropole. Although casino bid companies included different kinds of infrastructure in their bids (mostly projects that would have a positive impact on tourism) the development of an international convention centre became a strong factor and the casino licence for the Cape Metropole was allocated to the company that included the development of an international convention centre in the their casino bid application. Although convention centers are rarely profitable they are known to change the face of cities and regions in terms of their economic impact, not only the impact in terms of urban renewal opportunity, but also attracting domestic and international convention center delegate expenditure and the expenditure on hotels, food and beverage, transport, and general tourism expenditure. The direct, indirect and induced economic impact of this expenditure in the Western Cape and Cape Town result in the off-setting of the negative social impact and ensure that the benefits of the legalisation of gambling is extended to projects that would be unlikely developments in the absence of a casino licence allocated. The study undertaken demonstrates the economic impact (direct, indirect and induced) of the Cape Town International Convention Centre. It also shows the impact of the center on the promotion of tourism, including convention center delegates returning to the Western Cape for leisure purposes in the future. It culminates in the conclusion that the allocation of a casino licence should not only be the development of a stand-alone casino, but also the creation of tourism infrastructure that offsets the negative impact of gambling.<br>AFRIKAANSE OPSOMMING: Die wettiging van die dobbelindustrie was deur baie mense gesien as ‘n onnodige euwel wat net sou bydra tot sosiale verval in ‘n land wat reeds gebuk gaan onder ‘n wye verskeidenheid sosiale probleme, soos werkloosheid, misdaad, ens. Anti-dobbel stemme het argumenteer dat die Suid-Afrikaanse gemeenskap is nie genoegsaam ontwikkel om ‘n industrie te hanteer wat geld kanaliseer vanaf normale huishoudelike besteding na die vorme van dobbel wat gewettig is nie. Anti-dobbel stemme het verder genoem dat dobbel net ‘n verdere belasting is in ‘n gemeenskap wat reeds oorbelas is. Baie van hierdie argumente het gewig gedra en die wettiging van die dobbelindustrie was duidelik ‘n kwessie wat versigtig hanteer moes word. Politici, die beskermhere van ‘n gesonde politieke bestel deur pro-aktiewe beleidstappe wat tot voordeel van ‘n land en sy mense behoort te wees, was in ‘n besondere politieke dilemma met die wettiging van die dobbelindustrie en moes die voordele van verdere belastinginkomste in ag neem saam met die sosiale nadele wat die industrie sou skep. Volgens die Konstitusie van Suid-Afrika is dobbel ‘n konkurente verantwoordelikheid en die onderskeie provinsies kon provinsiale dobbelbeleid ontwikkel volgens provinsiale vereistes. Alhoewel die nasionale wetgewing die oorhoofse raamwerk skep vir provinsiale wetgewing, het provinsies die geleentheid gehad om innoverend te wees met die ontwikkeling van provinsiale wetgewing. Na die wettiging van die dobbelindustrie het provinsies vinnig opgetree om casinos te ontwikkel, hoofsaaklik om ‘n groter belastingbasis te ontwikkel deur die toepassing van wetgewing. Die meeste provinsies ondervind ‘n tekort aan inkomste, aangesien die inkomstetoedeling vanaf die nasionale regering nie genoegsaam is om aandag te gee aan ‘n lang lys van ontwikkelingsprioritiete nie. ‘n Weg moes gevind word om provinsiale inkomste aan te vul en dobbelbelasting was ‘n aantreklike opsie. Die Wes-Kaap Provinsie het ‘n meer geduldige pad geloop in die promulgering van dobbelwetgewing. Daar was ‘n duidelike besef dat dobbel ‘n massiewe negatiewe sosiale impak in die Wes-Kaap sou teweeg bring en was daarvan oortuig dat ‘n weg gevind moes word om die negatiewe sosiale impak minder te maak. Die tesis het nie die klem geplaas op die kwantifisering van die negatiewe impak (soos byvoorbeeld die gebrek aan produktiwiteit, verlies aan werkgeleenthede, bankrotskappe, huishoudlike geweld, egskeidings, ens) nie. Die doel was om te demonstreer dat die toekenning van ‘n casino dobbellisensie gebruik kan word om infrastruktuur te skep wat nie direk verwant is aan ‘n casino nie. Sodanige infrastruktuur is gewoonlik in aanvraag in stede en streke wat ontluik as toerismbestemmings, maar hierdie tipe toerisme-infrastruktuur sal nie deur die regering ontwikkel word nie weens ‘n tekort aan die nodige fondse, maar ook nie deur die privaatsektor nie weens die gebrek aan aantreklike winsmarges. Die Wes-Kaap Provinsie het die vyf casinolisensies wat aan die provinsie toegedeel is in terme van die Nationale Dobbelwet gebruik om ‘n impak in die hele Provinsie te maak deur die Provinsie in vyf streke te verdeel met ‘n lisensie toegedeel aan elk van hierdie streke. Kaapstad en die Wes-Kaap het sedert 1994 internasionale prominensie verkry as ‘n internasional toerismebestemming. Dit was egter gou duidelik dat die stad en die streek nie die verwagte stroom van toeriste sal kan hanteer met die gebrek aan hotelkamers en ander toerismeinfrastruktuur nie. Die toerismesektor sal ook in gebreke bly om te groei sonder ander fasilitiete soos ‘n internasionale konferensiesentrum. Die gebrek aan ‘n internasionale konferensiesentrum het gelei daartoe dat Kaapstad konferensies begin verloor het weens die gebrek aan voldoende fasiliteite. Die internasionale konferensie-industrie toon uitstekende geleenthede vir ekonomiese groei deur die konferensieganger besteding en die impak op die ekonomie van Kaapstad en die Wes-Kaap. Die Wes-Kaap het dobbelkriteria ontwikkel wat dit duidelik gemaak het dat casino lisensie-aansoekers daartoe verplig was om toerismeinfrastruktuur by hulle aansoek in te sluit wat sou bydra tot die waardetoevoeging in die onderskeie streke. Dit is ook duidelik gemaak dat sodanige infrastruktuur nie noodwendig fisies aan ‘n casino gekoppel hoef te wees nie en kon ook weg van die casino perseel ontwikkel word. Die beleidskriteria het dit verder ook duidelik gemaak dat alleenstaande casinos nie oorweeg sou word nie. Die ontwikkeling van ‘n internasionale konferensiesentrum het ‘n belangrike beleidsoorweging geword in die toekenning van ‘n casinolisensie in die Kaapse Metropool. Alhoewel casino maatskappye ‘n verskeidenheid infrastruktuurelemente in hul aansoeke ingesluit het (meesal projekte wat ‘n positiewe impak op toerisme sou teweeg bring) het die ontwikkeling van ‘n konferensiesentrum ‘n uiters belangrike oorweging geword in die toekenning van ‘n casino lisensie en die lisensie vir die Kaapse Metropool is derhalwe toegeken aan die maatskappy wat die ontwikkeling van ‘n konferensiesentrum in die suksesvolle aansoek ingesluit het. Alhoewel konferensiesentrums byna nooit winsgewend is nie, skep sodanige sentrums die moontlikheid van stedelike vernuwing en ‘n ekonomiese impak deur die besteding van konferensegangers op hotelle, voedsel, drank, vervoer en algemene toerismebesteding. Die direkte, indirekte en geleide ekonomies impak van hierdie besteding lei daartoe dat die negatiewe sosiale impak afgeskaal word en lei derhalwe daartoe dat die voordele van die wettiging van dobbel verder gevoer word deur projekte wat onwaarskynlik sou wees in die afwesigheid van die toekenning van ‘n casinolisensie. Hierdie studie demonstreer die ekonomiese impak (direk, indirek en geleide) van die Kaapse Internasionale Konferensiesentrum. Die studie demonstreer verder die impak van die studie op die bevordering van toerisme , insluitende konferensiegangers wat na Kaapstad terugkeer vir vakansiedoeleindes. Hierdie impak kulmineer in die gevolgtrekking dat die toekenning van ‘n casinolisensie behoort nie net te lei tot die ontwikkeling van ‘n alleenstaande casino nie, maar ook die ontwikkeling van toerismeinfrastruktuur wat daartoe lei dat die negatiewe sosiale impak afgeskaal word.

Cette thèse vise à interroger la façon dont les biennales internationales d’art contemporain, en tant qu’événements culturels et premiers temps d’historicisation des oeuvres et des artistes, contribuent à la fabrique des imaginaires de l’altérité. Le cadrage chronologique de notre recherche s’ancre à partir de 1989, date qui correspond à un « tournant global », un changement de paradigme qui aurait eu pour effet de repenser les rapports de domination et les logiques de centre/périphérie, notamment dans le champ de l’art contemporain. L’internationalisation de l’art contemporain et le renouvellement des cadres de pensées que l’on rattache au « tournant global » ont donné lieu à l’émergence d’un processus de labellisation de la différence, dont témoignent des catégories artistiques et esthétiques telles que « art non-occidental » ou « art global », porteuses d’imaginaires renouvelés que ce travail de recherche entend analyser. Notre démarche, qui s’appuie sur un corpus de six expositions ayant marqué le champ des événements culturels internationaux, est volontairement pluridisciplinaire et vise à considérer l’hétérogénéité du matériel qui compose ces expositions. En premier lieu, la mise en lumière des discours expographique résulte de l’analyse conjointe de trois composantes : les écrits, à partir desquels nous proposons une typologie spécifique qui considère la fois les intentions qui président à leur production et les usages qui en sont faits ; les pratiques artistiques, qui dans le cadre des biennales sont au service du discours expographique ; et les gestes de mise en exposition qui sont propres au dispositif médiatique spécifique des biennales. En deuxième lieu, la réalisation d’entretiens et la collecte d’archives ont permis de circonscrire le contexte d’énonciation et l’intentionnalité des événements. En tant que dispositif médiatique à part entière, le catalogue d’exposition a également donné lieu à une méthodologie adaptée à l’ensemble des éléments (discursifs et non discursifs) qui le caractérise. Plus particulièrement, les écrits de connaissances que l’on y trouve ont fait l’objet d’une analyse sémiolinguistique permettant de mettre en lumière les processus de concrétisation des concepts, et donc de saisir les imaginaires et valeurs qui sont attachés. L’approche privilégiée pour analyser ce corpus permet ainsi d’articuler à la fois les spécificités de chaque exposition (c'est-à-dire leur individuation à travers l’articulation de leur concept et de leur dispositif) et leur inscription dans un réseau (en tant que résultat d’un processus de réécriture), vis-à-vis du thème de l’altérité<br>This research aims to examine how contemporary international art biennials, considered as cultural events and as first step in the historicization process of works and artists, contribute to the making of « otherness » as an imagined community. The chronologic frame of our research is anchored in 1989, which correspond to the « global turn », a shift of paradigm that would have led to the rethinking of domination relationship and the logic center/periphery, especially in the field of contemporary art. The internationalization of contemporary art and the renewal of the frameworks of thought that are often connected with the global turn have led to a process of labeling the difference, as evidenced by artistic and aesthetic categories such as « non-western art » or « global art » that carry renewed representations that this research intends to analyze. Our approach, which is based on a corpus of six exhibitions that have marked the field of international cultural events, is deliberately multidisciplinary and aims to consider the heterogeneity of the material that composes these exhibitions. First, we highlight the expographic discourses from the analysis of three components : the writings, from which we propose a specific typology that considers both the intentions that preside over their production and the uses that are made of them ; artistic practices, which in the context of biennials are at the service of the expographic discourse ; and the gestures of exhibitions which are characteristics of the specific media device of the biennials. Secondly, interviews and the collect of archival documents have led us to circumscribe the context of enunciation and the intentionality of the events. As a media device in its own right, the exhibition catalog also gave rise to a metholody adapted to all the elements (discursive and non-discursive) that characterize it. More particularly, the writings of knowledge have been the subject of semiolinguistic analysis to highlight the processes of concretization of concepts, and thus have led us to grasp the artistic values that are attached to the imagined otherness. The preferred approach to analyze this corpus thus makes it possible to articulate the specificities of each exhibition (i.e their individuation through the articulation of their concept and their device), and their inscription in a network (as a result of a process of rewriting) at the same time

Esta investigación aborda la participación española en las exposiciones universales celebradas en París durante el siglo XIX. Se ha tomado una perspectiva global, analizando, por tanto, el conjunto de factores que conformaron la imagen de lo español en las cinco ediciones universales organizadas en París: las instituciones efímeras y organismos permanentes que se encargaron de la organización de la asistencia española, los espacios e instalaciones que se adecuaron en París para albergar las colecciones nacionales, los productos seleccionados para representar a España (obras de arte, minerales, libros, tejidos, máquinas, productos agrícolas, etc.), así como los visitantes y comisionados que acudieron a la entonces denominada capital cultural del siglo.<br>This research focuses on the Spanish participation in the international exhibitions held in Paris during the nineteenth century. It has been taken a global perspective, analyzing, therefore, all the factors that shaped the image of the Spanish in the five universal exhibitions organized in Paris: the ephemeral institutions and permanent organizations that were responsible for the Spanish attendance, the area and premises that were adapted in Paris to house the national collections, the items which were selected to represent Spain (works of art, minerals, books, fabrics, machines, agricultural products, etc..) as well as the visitors and commissioners who attended to the so-called cultural capital of the century at that time.

Le présent travail intègre une dimension internationale dans son sujet : La sculpture russe du naturalisme à l’Art Nouveau : géopolitique des pratiques artistiques. Il a pour fondement l’étude de ceux des sculpteurs russes qui, d’une manière ou d’une autre, ont voyagé ou séjourné à l’étranger entre 1870 et 1914. En faisant converger les approches de la nouvelle « macro-histoire de l’art », soutenue par les méthodes statistiques de l’histoire de l’art quantitative, avec l’émergence d’une problématique non pas « bilatérale » mais « multilatérale », à même de rendre compte de manière complète de l’évolution internationale d’un art et de ses acteurs, l’étude se concentre sur les rapports entretenu par des artistes d’un pays avec les autres pays en général. Il cherche ainsi à redéfinir une géographie européenne de l’art, avec une mise en relation des différents centres artistiques entre eux vus par un prisme étranger. Ainsi, par une approche multinationale, distingue-t-il les centres artistiques européens majeurs de la période : Paris supplantant progressivement Rome au cours du siècle en tant que centre artistique de niveau mondial, Munich et Berlin se disputant la place de centre majeur de l’Europe médiane. Paris assoit alors sa domination écrasante dans la concentration des sculpteurs par rapport à ses concurrentes allemandes et italiennes. Les circulations internationales influencent dès lors l’évolution artistique en Russie, notamment lorsque les sculpteurs y reviennent après un séjour à l’étranger : les apports de la sculpture occidentale interviennent dans les multiples évolutions qui affectent la plastique russe depuis les années 1870 jusqu’à l’Âge d’Argent<br>The following work is to be considered from a global point of view, as shown in this topic: Russian sculpture from naturalism to Art nouveau: a geopolitical analysis of artistic practices. The basis of this study is that of the Russian sculptors who have somehow traveled or stayed abroad between 1870 and 1914. By putting together the new ‘macro art history’ approaches supported by the statistics of a quantitative method of art history with the emergence of a rather multi-lateral question than a bi-lateral one which has the power to fully acknowledge the global evolution of an art and its participants, this study focuses on the relations maintained by the artists from one country with other countries in general. From a foreign perspective, this study aims at redefining the European geography of art while connecting various artistic centers together. A distinction is therefore made from a global approach between the most important art-related European centers of the time; namely Paris, which progressively replaced Rome over the century as a nationally-scaled point of interest, as well as Munich and Berlin, which challenged their number one standing in central Europe. Unlike its German and Italian competitors, Paris managed to establish its authority by gathering sculptors. Global migration consequently influenced the evolution of art in Russia, especially when sculptors went back after staying abroad. Thereby, contributions from Western sculptures played an essential role in the various artistic evolutions that affected Russia from the 1870’s to the Silver Age

Made available in DSpace on 2016-04-04T18:21:45Z (GMT). No. of bitstreams: 1 Pedro Soria Castellano-1.pdf: 373498 bytes, checksum: 1f2e23b3234c7d7a968bf04f3587a3f7 (MD5) Previous issue date: 2008-02-12<br>This academic research aims to a study of the fundamental differences between modernism and post-modernism at the same time analyse how so distincts theories of city can behave in a certain urban fabric. To develop, this research used Berlin as a stage, and two International Exhibitions of Construction: the first one in the 50 s, called Interbau, and the second, with the city divided by the Wall, the end of the 80 s, called IBA. The research, which used methodologically bibliographic material and analysis of projects, take place in the history of urbanism, as well as interventions in urban centres, for the nature of the Exhibitions that are objects of study. As a result, it is expected a contribution to the architectural and urban thinking to bring forth the objects designed for the Exhibitions, so the two events studied are seen as examples of theories of the Modern Movement and the post-modernism in architecture and urbanism.<br>A presente pesquisa tem como objetivo uma reflex?o sobre as diferen?as fundamentais entre o modernismo e o p?s-modernismo ao mesmo tempo em que busca analisar de que forma teorias t?o distintas de cidade comportam-se em um determinado tecido urbano. Para desenvolver-se, o trabalho utilizou a cidade de Berlim como palco, bem como duas Exposi??es Internacionais de Constru??o que ocorreram na capital alem? em per?odos distintos da hist?ria: a primeira no p?s- Segunda Guerra durante a d?cada de 1950 denominada Interbau, e a segunda, j? com a cidade dividida pelo Muro, no final da d?cada de 80, chamada IBA. A pesquisa, que utilizou metodologicamente material bibliogr?fico e an?lise de projetos, situa-se no campo da hist?ria do urbanismo, bem como no de interven??es em centros urbanos, dada a natureza das Exposi??es que t?m por objetos de estudo. Como resultado, espera-se uma contribui??o ao pensamento arquitet?nico e urban?stico ao trazer a tona os objetos projetados durante as Exposi??es, de modo que os dois eventos estudados sejam vistos como exemplos das teorias do Movimento Moderno e do p?s-modernismo em arquitetura e urbanismo.

Die beiden noch jungen Nationen Deutschland und Amerika richteten gegen Ende des 19. Jahrhunderts sogenannte \"Kolonialausstellungen\" im Rahmen von Welt- und Gewerbeausstellungen aus. Damit wünschten sie sowohl vor der eigenen Bevölkerung, als auch internationalem Publikum ihre erzielte Fortschrittlichkeit zu demonstrieren. Im gleichen Zug proklamierten sie ihre Weltmachtstellung. Anhand ausgestellter \"eigener Fremder\" wurde die Wehrhaftigkeit, das ökonomische und politische Potential, die Modernität und Zivilisierung der ausrichtenden Nation herausgestellt. Beide Länder wünschten anhand der offensichtlich besiegten und/oder gezähmten \"Wilden\" die eigene Spitzenposition und daraus resultierend das Verantwortungsbewusstsein gegenüber weniger privilegierten \"Rassen\" auszustellen. \"Koloniale\" Abteilungen informierten jedoch nicht wie nachdrücklich untermauert über Expansion, Besitzungen und deren Bevölkerung, sondern fungierten ausschließlich als Instrumentarium zur Übermittlung \"imperialistisch\" geprägter Botschaften. Insbesondere die gerade erst professionalisierten Wissenschaften Anthropologie und Ethnologie profitierten von den Veranstaltungen, in denen sie ihre \"Rassentheorien\" bestätigt fanden. Im Gegenzug legitimierten sie deren Ausrichtung, versicherten vermeintliche Authentizität und versteckten Schaulust unter dem Deckmantel von Erziehung, Belehrung und Wissenschaftlichkeit.

[EN] Exhibitions are a cornerstone of Alison and Peter Smithsons' multifaceted approach to their work. A powerful medium for conveying and materialising their ideas which provided them, throughout their career, with the opportunity to freely create experimental constructions to relay their thoughts. The exhibitions they staged in the 1950s and 60s, such as 'Parallel of Life and Art', 'House of the Future', and 'Patio & Pavilion' were, and still are, at least as important to architectural critics as their few built works or many writings. However, from the 1970s onwards little is known about their prolific work in the realm of exhibitions. In his lecture 'The Masque and the Exhibition: Stages Towards the Real' in 1980, Peter Smithson mentioned the importance of exhibitions in shaping the Smithsons' architecture as places of opportunity in which to experiment with reality. This comment makes it logical to think that if the exhibitions held before then had always been a powerful tool - a tool used, furthermore, by the Smithsons to create some of their most intense productions - then those staged after said lecture, which acknowledged and highlighted this aspect of their work might, despite being little known, be at least as intense as the previous exhibitions with greater media visibility. This idea, together with the expectations raised by the 'Christmas-Hogmanay' exhibition - not only because it was staged whilst said lecture was being drafted but also because of the ideas that sprang from the analysis of a related collage mentioned in the prelude to this doctoral thesis - channelled the research towards this final period of the Smithsons' exhibition architecture. The research herein focuses specifically on two groups of exhibitions that stand out amongst the Smithsons' wide range of documented exhibitions on account of their inherent intellectual cohesion enabling the concepts staged by Alison and Peter Smithson to be seen more clearly. This doctoral thesis consists of four chapters. It begins with an introductory chapter which firstly analyses and contextualises architecture in the shape of exhibitions; then outlines the importance of exhibitions in Alison and Peter Smithson's work; and finally puts the specific period under study into context in terms of both their career and the discourse of architecture in general. The two main chapters in this thesis are entitled 'Christmas Exhibitions' and 'Tecta Exhibitions', each organised in a similar fashion: a short introduction to the group of exhibitions followed by an in-depth analysis of each exhibition in the group based mainly on the unpublished documentation to which the author had access in the three main archives devoted to Alison and Peter Smithson: The Alison and Peter Smithson Archive in the Special Collections Department of the Frances Loeb Library at Harvard Design School (USA); the Alison and Peter Smithson Archive / Tecta Archive at Lauenförde (Germany); and the Smithson Family Archive in Stamford (United Kingdom). Finally, each chapter ends with an essay which analyses and links up the different concepts conveyed by each individual exhibition and the exhibitions in the group as a whole. The last chapter is a short epilogue that gathers up all the concepts set out previously in relation to the Christmas and Tecta exhibitions, and shows how they all tie in together in the Smithsons' most experimental work: the Hexenhaus at Bad Karlshafen.<br>[ES] Dentro del enfoque polifácetico del trabajo de Alison and Peter Smithson, las exposiciones son pieza fundamental. Un medio poderoso para comunicar y materializar sus ideas que les brindó a lo largo de toda su trayectoria la oportunidad de abordar con libertad la construcción experimental de su pensamiento. Sus propuestas expositivas de la década de los cincuenta y sesenta, como Parallel of Life and Art, House of the Future, o Patio & Pavilion, han sido y son tanto o más relevantes para la crítica arquitectónica como sus escasas obras construidas o sus abundantes escritos. Sin embargo, a partir de la década de los setenta, poco se conoce de su prolífica producción expositiva. Peter Smithson en la conferencia "The Masque and the Exhibition: Stages Towards the Real" en 1980 expresaba el importante significado que tenían las exposiciones para la conformación de su arquitectura como lugares de oportunidad para experimentar con la realidad. A partir de esta reflexión, parece lógico pensar que si hasta ese momento dichas instalaciones siempre fueron una herramienta con la que los Smithson han ofrecido algunos de sus momentos más intensos, las realizadas a partir de ese momento de reconocimiento consciente y puesta en valor de esta faceta de su trabajo, pese a su poca difusión, podrían entrañar una intensidad al menos similar a las que ya han destacado hasta el momento en los medios. Esta consideración, unida a las expectativas generadas en torno a la exposición Christmas-Hogmanay, tanto por ser simultánea a la elaboración de dicha conferencia, como por las ideas que se desprenden del análisis de un collage vinculado a la misma que aparece como preludio de esta tesis doctoral, ha dirigido la investigación hacia este último periodo de su arquitectura expositiva. En concreto, el estudio se centra en dos grupos que, dentro del amplio abanico de montajes expositivos realizados, destacan por poseer una cohesión intelectual propia que permitirá descubrir con mayor claridad las reflexiones que Alison y Peter Smithson ponen en escena. La tesis doctoral se estructura en cuatro grandes apartados. Arranca con un capítulo de introducción dedicado a enmarcar el tema de estudio en el que primero se analiza y contextualiza la arquitectura hecha exposición; después, se presenta la relevancia que tiene la obra expositiva en el trabajo de Alison y Peter Smithson; y finalmente se contextualiza el periodo concreto en el que se centra el estudio atendiendo tanto a su propia trayectoria como al discurso arquitectónico general. Los dos grandes apartados de la disertación son las exposiciones de Navidad y las realizadas junto a TECTA, estructurándose ambos de manera similar. Tras una breve introducción al grupo de exposiciones que se va a analizar, aparecen ampliamente documentadas cada una de las exposiciones que conforma el grupo a partir, principalmente, de la documentación inédita a la que se ha tenido acceso en los tres principales archivos dedicados a Alison and Peter Smithson: The Alison and Peter Smithson Archive en el Special Collections Department de la Frances Loeb Library de la Harvard Design School (Estados Unidos); The Alison and Peter Smithson Archiv / TECTA Archiv en Lauenförde (Alemania); y The Smithson Family Archive en Stamford (Inglaterra). Finalmente, cada capítulo se cierra con un ensayo en el que se analizan y relacionan las diferentes reflexiones que las exposiciones ofrecen, de manera individual y en su conjunto. El último capítulo es un breve epílogo que reúne y entrelaza todo lo anteriormente expuesto, a través de las exposiciones de Navidad y TECTA, en su obra más experimental, la Hexenhaus en Bad Karlshafen.<br>[CAT] Dins de l'enfocament polifacètic del treball d'Alison i Peter Smithson, les exposicions en són una peça fonamental. Un mitjà poderós per a comunicar i materialitzar les idees que, al llarg de tota la seua trajectòria, els van brindar l'oportunitat d'abordar amb llibertat la construcció experimental del seu pensament. Les seues propostes expositives de la dècada dels cinquanta i seixanta, com ara Parallel of Life and Art, House of the Future, o Patio & Pavilion, han sigut i són tant o més rellevants per a la crítica arquitectònica com les seues escasses obres construïdes o els seus abundants escrits. No obstant això, a partir de la dècada dels setanta, poc es coneix de la seua prolífica producció expositiva. Peter Smithson, en la conferència "The Masque and the Exhibition: Stages Towards the Real" al 1980, expressava l'important significat que tenien les exposicions per a la conformació de la seua arquitectura com a llocs d'oportunitat per a experimentar amb la realitat. A partir d'aquesta reflexió, sembla lògic pensar que, si fins a eixe moment les dites instal·lacions sempre van ser una eina amb la qual els Smithson han ofert alguns dels seus moments més intensos, les que van realitzar a partir d'aquest moment de reconeixement conscient i posada en valor d'aquesta faceta del seu treball, tot i la poca difusió, podrien contenir una intensitat com a mínim similar a la d'aquelles que ja han destacat fins al moment en els mitjans. Aquesta consideració, unida a les expectatives generades entorn a l'exposició Christmas-Hogmanay, tant per ser simultània a l'elaboració de la dita conferència, com per les idees que es desprenen de l'anàlisi d'un collage vinculat a la mateixa que apareix com a preludi d'aquesta tesi doctoral, ha dirigit la investigació cap a aquest últim període de la seua arquitectura expositiva. En concret, l'estudi se centra en dos grups que, dins de l'ampli ventall de muntatges expositius realitzats, destaquen per posseir una cohesió intel·lectual pròpia que permetrà descobrir amb una major claredat les reflexions que Alison i Peter Smithson posen en escena. La tesi doctoral s'estructura en quatre grans capítols. Arrenca amb un apartat d'introducció dedicat a emmarcar el tema d'estudi, en què primer s'analitza i contextualitza l'arquitectura feta exposició; després, es presenta la rellevància que té l'obra expositiva en el treball d'Alison i Peter Smithson; i finalment es contextualitza el període concret en què se centra l'estudi, atenent tant a la seua pròpia trajectòria com al discurs arquitectònic general. Els dos grans capítols de la dissertació són les exposicions de Nadal i les realitzades junt amb TECTA, i s'estructuren tots dos de manera similar. Després d'una breu introducció al grup d'exposicions que s'analitzarà, apareixen amplament documentades cadascuna de les exposicions que conforma el grup, a partir principalment de la documentació inèdita a la qual s'ha tingut accés en els tres principals arxius dedicats a Alison i Peter Smithson: The Alison and Peter Smithson Archive a l'Special Collections Department de la Frances Loeb Library de la Harvard Design School (Estats Units d'Amèrica); The Alison and Peter Smithson Archiv / TECTA Archiv a Lauenförde (Alemanya); i The Smithson Family Archive a Stamford (Anglaterra). Finalment, cada capítol es tanca amb un assaig en què s'analitzen i relacionen les diferents reflexions que les exposicions ofereixen, de manera individual i en conjunt. L'últim capítol és un breu epíleg que reuneix i entrellaça tot allò exposat anteriorment, a través de les exposicions de Nadal i TECTA, en la seua obra més experimental, la Hexenhausen Bad Karlshafen.<br>Ábalos Ramos, A. (2016). ALISON AND PETER SMITHSON: THE TRANSIENT AND THE PERMANENT [Tesis doctoral no publicada]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/62223<br>TESIS

碩士<br>國立彰化師範大學<br>美術學系<br>102<br>Abstract As the course of history changes, art museums worldwide are facing decreasing funds as well as diverse cultural competitions. As the result they have to embrace new changes in their operation policies. This paper discusses the development trend for art museums in Europe and America by examining the changes in their operation. From art museums’ commercialization, this paper explores art museums’ marketing strategies, expansions, franchising and exhibit rental and loan exhibition. Next it discusses, under the influence of the systematic changes in western art museums, how holding major international exhibitions becomes a trend among art museums in Taiwan in order to understand the current and future development of Taiwan’s art museums in holding special exhibitions. This study has discovered that art museums have incorporated marketing into their operation. Among art museums that seek franchising and alliances, the name Thomas Krens stands out. He was responsible for a series of expansion for Guggenheim Museum and planning on opening Guggenheim museums globally. His vision is to build Guggenheim into a globally renowned brand. For instance, Guggenheim Museum Bilbao is the classic example of how culture, when built as a brand, can stimulate the local tourism. Following the footsteps of Guggenheim, Louvre Museum’s Louvre Abu Dhabi pushes art museum expansion to another climax. As for marketing, art museums now rent their collections to increase revenues. They also have a more diversified operation strategy, such as including a gift shop, boutique shop, bookstore or restaurant to increase its revenue. Products in the stores are also more diversified than before. Such strategy will help bring in more revenue and visitors for the art museums. Large special exhibitions do create more business opportunities and attract more visitors for art museums, while making the organizing art museum’s exhibitions more diversified. Introducing major international exhibitions is also beneficial to the development of Taiwan’s art museums, since such exhibitions can promote the art museum’s awareness and attract more visitors while help people in Taiwan develop appreciation for art. While planning major international exhibitions, the local cultural context and environmental development should be the top priorities instead of revenue and visitor count. This paper uses the exhibition “Modigliani and His Circle” at Kaohsiung Museum of Fine Arts as an example and explains how this exhibition’s main theme corresponds to the local community. This allows visitors to be connected to the exhibition and be inspired, which is the main mission of art museums –educate the public. It will also continue to attract returning visitors, which is the only way for art museums to achieve sustainability.

碩士<br>國立東華大學<br>國際企業學系<br>100<br>The exhibition is the best choice to expand the market. However, there are ten- thousands of exhibitions every year; companies must choose a good exhibition to attend. Therefore, this study is trying to integrate the previous literature about evaluation of exhibition and adopt the modified Delphi method to identify suitable criteria for evaluating the international exhibition. Moreover, applying Analytic Hierarchy Process (AHP) to analyse the weight of index. Finally, we construct an unbiased and appropriate criteria of exhibition reviewing to be the foundation of exhibitor’s selection. It is useful for developing online exhibition reviewing platform. Additionally, the examples of three major consumer electronics and computer exhibitions: CeBIT, CES, COMPUTEX TAIPEI are used to demonstrate the process of international exhibition selection using this reviewing model. According to the results of this study, the aspects exhibitors care about, ordered by the emphasis which they place, including “products of international exhibition, ” “physical evidences of international exhibition,” “place of international exhibition,” “process of international exhibition,” “price of international exhibition,” “promotion of international exhibition” and “ joining people of international exhibition.” The proposed model will help exhibitors effectively select the international exhibition, making it highly applicable in academia and commerce.

碩士<br>臺北城市科技大學<br>機電整合研究所<br>100<br>The study focus on international activities of robot exhibitions, such as Taipei international flora exposition. The representative of flora exhibition are five flower elves. The flower elf dubbed lady blue was famous in the activity. In addition, worldwide renowned robots include Android, tin plate robot are manufactured in this study. In this study,3D outline design package, Solid-works, was used to design the features of robots. The output of the CAD software was then transferred to a rapid prototype printer to accomplish the final shape of the robot. Furthermore, the prototype of robot was delicately painted with different colors for esthetic purpose. The appearance of the robot cooperated with esthetics design resulted in different types of vivid and agile robots and make the robot show more attractive.

碩士<br>國立臺灣科技大學<br>工業管理系<br>100<br>Externally and internally, the “site” has long been an important issue in the exhibition industry development process. The researcher finds in practical experience of exhibition industry service that critical to exhibition success are site location, exhibition site area, number of stand, relevant hardware facility and surrounding facility (e.g. food and beverage and hotel). The issues of our national exhibition hall per se in urgent need of overcoming are deficiency of site scale and functionality and tourist hotel room insufficiency and at a high price. Therefore, the study plans to understand the international exhibition industry development status quo and the problems facing our national exhibition industry, and besides explores use satisfaction of exhibition firms with relevant internal and external environment and facility of new and old exhibition hall by which to make improvement suggestions for new and old exhibition hall. Finally, by reference to the Asian model exhibition country, the study makes suggestions for prospective exhibition hall extension scheme of our national government. The research conclusions find that the issues of our national exhibition industry in urgent need of overcoming are surrounding business function immaturity of our national exhibition hall, exhibition site area, government support and aviation convenience. A suggestion made by the researcher for World Trade Exhibition Hall is that improving relevant software and hardware facility and exhibition site generatrix planning shall be given preference. Another one for Nangang Exhibition Hall is to head forward enhancement of exhibition hall per se and the overall standard of external environment. An exhibition hall, new or old, shall pay attention to toilet number and traffic congestion. In other words, as for equipment, attention shall be paid to exhibition hall obsolescence, parking lot deficiency and toilet number insufficiency, and as for management, attention shall be paid to exhibition hall traffic congestion and air pollution. By reference to the Asian model exhibition country, the study suggests that prospective extension exhibition hall scheme of our national government shall pay attention to obsolescence and attractiveness of exhibition hall appearance in internal environment and facility, and take diverse and diversified restaurant selections and fusion of a local diet culture feature restaurant in Taiwan as selection foundation of an exhibition hall restaurant. n addition, a barrier free space index shall be clear. In external environment, elementary conditions of an international class exhibition hall are excellent traffic convenience and mature surrounding business environment.

碩士<br>南華大學<br>視覺與媒體藝術學系碩士班<br>99<br>21 century is new era of a science and technology and economic cultural unceasing innovation. The times in high videotex .Visual sense of beauty is educational to act fairly important role.The special show of fine arts is the visual artistic education of a kind of love lead.Also is a kind of religion human body the life experience of examining sense of beauty.At the same time, train the observation of people for everything all things on earth and the experience campaigns of understanding ability and appreciation. Taiwan is educational, regular as passing to emphasize the record of intellectual education and has neglected aesthetic education .Or it is not clear to cause to pay attention to the visual artistic educational effect of the attainment of sense of beauty only with free poor handwriting as the means of aesthetic education. 　 　　This research is late divide with document Xi, the education for the special show art of fine arts and the intension of aesthetics 功 can divide with domestic visual artistic education Xi ；Carry out questionnaire inquiry again with case research France , discuss the identification case of the experience of sense of beauty and the special show of fine arts of audience. 「 visual art 」 train the attainment of sense of beauty the most direct, effective education, 「 the special show of fine arts 」 is to implement sense of beauty to experience the most direct, effective main problem campaign. 　 　　This research result discovers ：(1) vision the experience of sense of beauty is the works unfolded through appreciation fine arts specially, in order to enhance the campaign of the attainment of sense of beauty. (2) fine arts special show place program and work of art sell in order to visit the masses mainly body, emphatic visual art blends in life. (3) sense of beauty the influence of experience to the masses ： the masses can build Gou the visual artistic understanding ability of sense of beauty.（4) the special show of fine arts related factor discusses：1. It is administrative to suit aspect, museum offers cultural alternating resource, instigate special show to be related to move about , and offer works to demonstrate space , enhance the experience of the masses the opportunity with close artistic works . 2. God inscribes to design aspect , sponsor unit must grasp the masses late Bei experience, the fine arts of multivariate design are unfolded specially, enhancing compatriots get the attainment of sense of beauty, promotes the happy life.

碩士<br>世新大學<br>觀光學研究所(含碩專班)<br>97<br>The main purpose of this study was to evaluate the competitiveness of Taipei international convention & exhibition, Methodology contain two section, first, To construct the exclusive attributes and factors for competitiveness performance of international convention and exhibition according to literature review (Kang et al., 2005; Kay, 2005; Kim, 2000), the research established five constructs which were 'Economy of convention & exhibition', 'Efficiency of government', 'Convention & exhibition Industry', 'Infrastructure, superstructure and supported software facility', 'Tourism Industry & resource'. The research used Modified Delphi Method to reach unity consensus of 8 experts from academic, official agency and industry area. The result showed the five constructs maintain their expert validity, and the following attributes were modified to 17 factors and 47 attributes. Second, applied multidimensional scaling, MDS to analyze conceptual perception differences of exhibitor & attendee toward to the competitiveness of Taipei, H.K., Singapore, Seoul, Tokyo & Canton. The study results indicated the 'Infrastructure, superstructure and supported software facility' was the most important construct for the exhibitor & attendee which had experienced to participate the exhibition. Results also highlight the Taipei international convention & exhibition under the construct of 'Tourism Industry & resource'. The potential developments of Taipei international convention & exhibition are discussed and future research directions are identified.

碩士<br>嶺東科技大學<br>國際企業研究所<br>102<br>This study aimed to Taiwanese and overseas machine tools manufacturers and agents attend international Exhibition, to affect exhibition market factors on performance, included display products, people and booth decration, and promotion, and to clear exhibitn performance, if affected to increase Brand performance and potential customersor not.An object of study: domestic, overseas machine tools manufacturers and agents whom they had attend international exhibition. The questionnaire used nonrandom purposive sampling. The study accorded with study purpose and hypothesis, and collation, make code, and save file for getting back questionnaire. This study adopted SPSS 21.0 analysis questionnaire information. This study used statistical method included descriptive statistics, reliability and validity, correlation analysis, multiple regression analysis to analysis,andgot valid questionnaire 89 samples. The results indicated that: 1. there werea significantly positive relationship between products of exhibition in market strategy and Brand performance and potential customer quantity.2. There werea significantly positive relationship between people and booth decrationwith Brand performance and potential customer quantity. 3. There were a significantly positive relationship between promotion and potential customer quantity.The display products and people and booth relationship between brand performance and potential customer quantity was higher than promotion methodduring exhibition. Therefore, the most important factors for internation exhibition market were display products, and professional people and booth decration.