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1
Holovnia, O. M. "Exhibitions and Fairs as an Integration Tool for Implementing the Interests of Agricultural Enterprises." PROBLEMS OF ECONOMY 1, no. 51 (2022): 20–25. http://dx.doi.org/10.32983/2222-0712-2022-1-20-25.
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The state of modern exhibitions is considered, the latter being an important means of communication between producers and consumers in the Ukrainian market under market economy. Exhibitions reflect the material, technological, information, and communication development; they have become a standardized price indicator, an economic and political platform forecasting changes in supply and demand in the global agricultural market, and a globalized phenomenon with economic, political and socio-cultural content. The author argues that international agricultural exhibitions and fairs are the most effective tools for studying the situation in the agro-industrial market, finding potential consumers, establishing business and cooperation contacts, setting up business cooperation and integration, searching for investors, and more. The article characterizes such leading international agricultural exhibitions as: “Agritechnica”, or the International Exhibition of Agricultural Machinery and Equipment in Hanover; IGW Berlin (International Green Week), which is the largest platform for exhibiting equipment and products of the food industry, agriculture and horticulture; International Green Week (IGW); EuroTier Hannover, or the International Exhibition of Livestock and Poultry; SIMA Simagena Simavip, which is an agricultural exhibition in Paris; SIA (Salon International de L'agriculture), or Paris Agricultural Salon, specializing in animal husbandry, horticulture and food; AgriEquip, or International Modern Agricultural Equipment & Technology Exhibition held in Shanghai; the international exhibition of Warsaw Food Expo in Poland; and International Agro-Industrial Exhibition in Kyiv. It is argued that participation in exhibitions strengthens the competitiveness of agricultural enterprises, create long-term mutually beneficial partnerships, increase the enterprise’s domestic and foreign trade, and promote agricultural and food products in other market segments.
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Ostrianska, Olena, and Natalia Zernova. "FACILITATIVE SUPPORT OF PROFESSIONAL DEVELOPMENT OF RESEARCH AND TEACHING STAFF IN THE PROCESS OF PREPARING AND HOLDING INTERNATIONAL EDUCATIONAL EXHIBITIONS." Science and Education 2020, no. 4 (2020): 24–40. http://dx.doi.org/10.24195/2414-4665-2020-4-4.
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The article analyses the experience of organizing International Educational Exhibitions in Ukraine in 2016 – 2020. The essence of such concepts as "international educational exhibition", "international educational exhibition space", "facilitative support of professional development of research and teaching staff" is defined. The structural elements of the International Educational Exhibition and the stages of a higher educational institution participation in the exhibition activity (preparatory, direct participation, analysis of the achieved results) are considered. The authors of the article present systematized experience of facilitative support of professional development of research and teaching staff provided by specialists of the Department of Scientific Work of the State Institution of Higher Education "University of Educational Management" of the National Academy of Educational Sciences of Ukraine in the process of preparing, holding and analysing results of International Educational Exhibitions, such as "Innovation in Modern Education", "Modern Educational Institutions", "Education and Career – Student's Day", "Education and Career". The types of organizational and coordination activities are determined, a detailed list of actions of the process of facilitative support by the specialists of the Department of Scientific Work of research and teaching staff as exhibitors and visitors of the exhibition is presented. Methodical structuring and algorithmizing of types of organizational and coordination activities and a detailed list of actions of the facilitation process are described in the following stages: 1) preparation of research and teaching staff (exhibitors and visitors) to participate in International Educational Exhibitions; 2) direct participation of research and teaching staff (exhibitors and visitors) in the International Educational Exhibitions; 3) analysis of the results of participation of research and teaching staff (exhibitors and visitors) in International Educational Exhibitions. The authors have created a classification of events of the International Educational Exhibition according to the congress, competition and exponential components. Statistics of the number of planned and conducted events within the International Educational Exhibition activities in Ukraine in 2016 – 2020 are presented. Emphasis is placed on changing the form of exhibitions from offline to online format due to the COVID–19 pandemic and lockdown (quarantine restrictions) in 2020. Recommendations for higher educational institutions to maintain an integrated information base of exhibition educational activities with detailed information on the activities within the exponential, competitive and congress programs of the exhibition.
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Coltofean-Arizancu, Laura. "Displaying Archaeology and Circulating Knowledge." Nuncius 37, no. 3 (2022): 529–63. http://dx.doi.org/10.1163/18253911-bja10039.
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Abstract This article explores the role of archaeological exhibitions organized at international archaeological congresses in the circulation of scientific knowledge in the nineteenth century. It does so through the case study of the exhibition organized at the 8th Congrès international d’anthropologie et d’archéologie préhistoriques (CIAAP; International Congress of Prehistoric Anthropology and Archaeology) which was held in the Hungarian National Museum in Budapest, Hungary, in 1876. The article discusses the exhibition’s curation and impact by analyzing key publications, newspaper articles, and archival documents. It examines the exhibitors’ backgrounds, along with the selection and arrangement of the displayed objects. It also highlights the exhibition’s press coverage and the discussions it generated among the international and domestic participants. The article concludes that the exhibition contributed to creating international scholarly networks, multi- and pluridisciplinary collaborations, as well as international visibility and public support for prehistoric archaeology in Hungary.
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Danilov, Victor J. "International exhibition sponsorship." International Journal of Museum Management and Curatorship 7, no. 2 (1988): 139–50. http://dx.doi.org/10.1080/09647778809515115.
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Danilov, V. "International exhibition sponsorship." Museum Management and Curatorship 7, no. 2 (1988): 139–50. http://dx.doi.org/10.1016/0260-4779(88)90018-0.
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Raharjo, Timbul. "INDONESIAN CRAFT IN THE WORLD TRADE." Ars: Jurnal Seni Rupa dan Desain 21, no. 3 (2018): 177–82. http://dx.doi.org/10.24821/ars.v21i3.2899.
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Some international craft exhibitions focus on home accessories, gifts, and furniture. The exhibition aim as craft product branding at the national and international market, for example 2016 JIFFINA exhibition. Indonesian craft commodity maintains market share in several export destination countries because Indonesian products offer special characteristics and moreover, Indonesian exporters are enthusiastic in promoting the products in international exhibitions. In Asia level, Canton Fair held in Guangzhou International Convention & Exhibition Center China is one of the biggest programs where a big number of buyers look for products they want to purchase. In Asia, exhibition series peak in Guangzhou in March and in Shanghai in October. These exhibitions are visited by importers from Europe, America, Africa, The Middle East, Australia, etc. They come to buy Asian furniture. Some exhibitions in several countries are intentionally organized within a short time in sequence to grab buyers coming to South East Asian area. It is when the commission products from Indonesian producers, in form of retails or projects. Indonesian stakeholders respond this opportunity by organizing two big exhibitions, namely Indonesia International Furniture Expo (IFEX) in Jakarta and Jogja International Furniture and Craft Fair (JIFFINA) in Yogyakarta
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Chychkalo-Kondratska, Iryna, Vladyslav Zhytnyk, and Aapis Bairamov. "Exhibition and Trade Fair Activities in the System of Support for National Exporters." ЕКОНОМІКА І РЕГІОН Науковий вісник, no. 3(78) (December 15, 2020): 49–54. http://dx.doi.org/10.26906/eir.2020.3(78).1996.
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The article substantiates the role of the state in supporting participants of national and foreign exhibitions and fairs and processes of development of exhibition infrastructure. The international exhibitions and fairs are not only an important communication tool, but also a mechanism for promoting new technologies and products in national and international markets. A comparative description is made and the differences between fairs and exhibitions are determined. The structure of the distribution of exhibition areas in the world is analyzed and it is found that Europe has the largest number of exhibition complexes, the share of which is 46% of the global indicators. The dynamics of the main characteristics of exhibition activity in Ukraine from 2015 to 2019 is considered, which indicates the development of this area, but in 2018–2019 there was a certain decline in some indicators, including attendance at these events. The state of exhibition and fair activity in 2019 is analyzed in detail. The article identifies the prospects of exhibition and fair activities in Ukraine. Especially urgent is the solution of training, retraining and advanced training of employees of exhibition and fair activities, as well as the active participation of government agencies in the formation and development of international and national exhibitions and fairs.
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You, Chi-Yeon, Yeon-Sung Jung, Junggeun Kim, and Taewoo Roh. "Organizer Competency and B2B Exhibition Performance: The Mediating Role of Exhibitor Motivation." Journal of Korea Trade 28, no. 3 (2024): 93–117. http://dx.doi.org/10.35611/jkt.2024.28.3.93.
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Purpose - This study aims to explore the significance of organizer competency in B2B exhibitions in South Korea. Drawing on previous literature in the exhibition context, this research empirically examines the impact of organizer competency on exhibition performance and investigates the mediating role of exhibiting firms’ motivation to participate. Motivation is deconstructed into the quality of attendees and market-oriented motivation for a detailed analysis. Design/Methodology - The empirical model of this study considers the relationship between organizer competency and exhibition performance in B2B exhibitions from a resource-based view. To accurately reflect the unique characteristics of B2B exhibitions, we surveyed firms that participated in the Korea International Boat Show. Consequently, the hypotheses of this study were tested through a structural equation model with 85 valid samples. Findings - The findings of this study are twofold: First, we confirm that the competency of exhibition organizers significantly and positively impacts exhibition performance. Secondly, we identify that both motivational factors—quality of attendees and market-oriented motivation— positively influence exhibition performance. Originality/value - Previous studies have overlooked organizer competency as a driver to enhance exhibition performance. However, this study demonstrates that organizer competency positively influences exhibition performance, mediated by the quality of attendees and market-oriented motivation. Furthermore, unlike most previous studies focused on regions such as China and Hong Kong, we analyze our research within the context of the Korean B2B industry.
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Yu, Shining. "An Analysis of International Curation from an Intercultural Perspective." Communications in Humanities Research 9, no. 1 (2023): 253–59. http://dx.doi.org/10.54254/2753-7064/9/20231193.
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It is the advantage of Chinese cultural diplomacy to enrich foreign cultural exchange forms and enhance international influence, communication power, and attractiveness through international museum exhibitions. The international exhibition is an important platform for cultural exchanges with other countries. In the case that the traditional communication forms of Chinese theatre art no longer adapt to the development of modern society, this study will analyze how to curate international exhibitions on the theme of Chinese theatre art from the intercultural perspective so as to achieve the purpose of Chinese culture communication. By analyzing the current situation and problems of international curation, this study explores the cultural significance of international exhibitions from an intercultural perspective, selects Chinese theatre art as the curation theme, analyzes the special narrative expression in theatre art exhibitions, and puts forward some suggestions on the virtual and digital applications in exhibitions. The research shows the mutual compatibility between international exhibition and Chinese theatre art and the importance and necessity of realizing intercultural communication through exhibition as the medium and constructing a new cultural exchange mechanism for the communication of Chinese theatre art through curating exhibitions.
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Gong, Yunhan. "Analyze the Exhibition Industry in the Post-Epidemic Era-Taking the 5th Erdos International Cashmere and Wool Exposition as an Example." BCP Education & Psychology 8 (February 27, 2023): 78–83. http://dx.doi.org/10.54691/bcpep.v8i.4275.
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In the post-epidemic era, the economy of all walks of life is recovering, and the exhibition industry is an industry with a strong driving effect in the short term. Inner Mongolia has local characteristics, and as a province with an immature exhibition industry, it has great potential. In holding exhibitions here, Inner Mongolia will gradually develop exhibitions, so that everyone could see the feasibility of building a convention and exhibition capital in central and western China. This paper analyzes the 5th Erdos International Cashmere and Wool Exposition. Through case analysis and literature research, the paper found that this exhibition combines online and offline exhibitions, with an online cloud exhibition pavilion, cashmere live broadcast competitions, and a distinctive ethnic minority commodity exhibition. This exhibition can provide a reference for the holding of exhibitions in other regions and provide direction and theoretical support for subsequent exhibitions. It provides a feasible solution for promoting economic recovery in the post-epidemic environment.
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TYTARENKO, V., and M. KONDRATENKO. "ESTABLISHMENT OF EXHIBITION ACTIVITIES IN THE WORLD." ТHE SOURCES OF PEDAGOGICAL SKILLS, no. 34 (December 18, 2024): 228–32. https://doi.org/10.33989/2075-146x.2024.34.318134.
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Today, exhibition activity is a relevant field of modern culture, education and development of society. Exhibitions have an important aesthetic, cultural, scientific and philosophical mission. The article reflects the birth of exhibition activity in the world and the work of international organizations in this direction, gives examples of various classifications of exhibitions. Despite the large number of scientific works on the researched topic, it is worth noting the debatability of approaches to the interpretation of the very concept of "exhibition" and their classifications. It is noted that exhibitions are classified by venue, sources of funding, status, subject matter, etc. The most common classification in the cultural and educational spheres is the division of exhibitions by direction. It is possible to combine several directions at the same time. For example: educational-scientific, artistic-artistic, scientific-technical. By branch, according to the international classification of exhibitions of the UFI (World Association of the Exhibition Industry), there are two main classes: specialized exhibitions and universal and multi-disciplinary exhibitions. The article examines the problematic issues of classification of exhibition activity and determines the factors affecting it, analyzes the characteristics of the development and formation of exhibition activity in the world. Prospects and problems related to the development of the exhibition institute in the world are relevant and require in-depth research. The correct ratio of the topic and the form of the event is the key to the success of a good exhibition. With the development of society, exhibitions also develop. Exhibitions are a creation of a certain time and place, a reflection of culture, art, education and society at a certain historical moment. The main goal of the exhibition is to tell a new story, create a new context, ensure access and relevance for the modern viewer, which is a constant challenge for the organizers of the exhibition.
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Лапина and N. Lapina. "Characteristics of Development of Exhibition and Fair Activities in Moscow." Management of the Personnel and Intellectual Resources in Russia 3, no. 5 (2014): 38–42. http://dx.doi.org/10.12737/5792.
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The paper presents the analytical information about the development of exhibition activity in Moscow as an information, communication and intellectual
 resources of socio-economic development of the region. On the basis of extensive statisticsthe author traced the dynamics of quantitative and qualitative
 development indexes of the sphere of exhibition and fair activities, which directly depends on the state of economics and investment activity in the territory.
 Exhibitions and fairs in Moscow is one of the most important sectors of the economy of the city, that largely determines the socio-economic and cultural development
 of the capital. 15 exhibition venues of the capital annually hold approximately 550 exhibition events with international participation, including the
 ones proposed by foreign organizations. The main trend in recent years has been to move many exhibitions fromunspecialized platforms and poorly equipped
 exhibition centers to complexes of international level. In Moscow exhibition centers that meet international standards are Expocenter and Crocus Expo. Moscow
 has 943.2 thousand square meters of exhibition spaces.
 Another feature of Moscow exhibition market is the prevalence of specialized and highly specialized exhibitions. The market of trade exhibitions and fairs develops
 more in the direction of B2B, i.e. business to business. Whereas regional-level activities are mainly targeted at fi nal customers.
 An important aspect of the exhibition-fair and congress activities is its socio-economic orientation, that providesfor increased business activity in the regions,
 development of regional economies, eff ective market positioning of territories, creation of new jobs and permanent employment in the region’s infrastructure.
 The author concludes that there is a need for state regulation of the exhibition activity, development and improvement of the regulatory and legal framework
 for its regulation.
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-. "International exhibition of innovations." Traktory i sel hozmashiny 79, no. 6 (2012): 13. http://dx.doi.org/10.17816/0321-4443-69434.
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Victoria V., Likhanova, and Titova Marina P. "Exhibition Activity of Tourist Enterprise in the Context of Information Society." Humanitarian Vector 16, no. 2 (2021): 56–65. http://dx.doi.org/10.21209/1996-7853-2021-16-2-56-65.
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One of the most effective means of presenting and promoting the results of social, economic, scientific and managerial activities is exhibition activity. Exhibition events perform an important function in the development of the modern information society and are of regional, national and international significance. The ongoing global changes in the world economy cause the process of increasing internationalization of the market, increasing of international division of labor and the volume of global sales and direct investment. Achievements of countries should be presented at international exhibitions and though exhibitions become the center of information concentration about scientific, technical and socio-economic achievements of mankind. The purpose of this study is to analyze the exhibition activities on the example of the travel agency “Majestic-Tour” and to develop recommendations for its participation in the exhibition “Leisure-2021”. To conduct the study, we used sources of scientific and informational nature, as well as reporting documentation on the exhibition activities of the travel agency. The authors analyze the concept of an exhibition and identify the main features of its organization for a tourist enterprise, analyze the exhibition activities of the travel agency “Majestic-Tour” for the period 2019–2020, identify the main problematic aspects of the organization of this type of activity and offer recommendations for its improvement as a factor in the formation of modern information society. Keywords: tourism, exhibition activity, information society, promotion, technology of the exhibition event
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Domini, Giacomo. "Exhibitions, patents, and innovation in the early twentieth century: evidence from the Turin 1911 International Exhibition." European Review of Economic History 24, no. 3 (2019): 578–600. http://dx.doi.org/10.1093/ereh/hez004.
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Abstract This paper investigates the relevance for innovation of international exhibitions. While the first of these events, i.e., London’s 1851 Great Exhibition, was an “exhibition of innovations,” many of the subsequent ones, following the model of industrial exhibitions developed in France, did not select exhibits based on novelty. In fact, they displayed a large spectrum of products, ranging from machines to primary products. Therefore, the suitability of data from their catalogs for proxying innovation, and their relationship to the traditional patent measure, should be better qualified. To do so, this paper performs an in-depth analysis of the Turin 1911 international exhibition, a medium-sized representative “French-model” exhibition. It matches a new database, built from the catalog of this event, with patents granted in Italy, revealing substantial differences. Furthermore, it evaluates how inventors could use the exhibition to promote their ideas, establish their reputation, and develop their career.
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Nikitin, Yury, Vasiliy Goryunov, Vera Murgul, and Nikolay Vatin. "Russian Sections at World and International Fairs." Advanced Materials Research 1065-1069 (December 2014): 2674–80. http://dx.doi.org/10.4028/www.scientific.net/amr.1065-1069.2674.
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Russian exposition pavilions at world and international fairs, expressive and unique in their artistic formulation, were always among the most visible national buildings. Beginning with the first structures at the 1867 World Fair in Paris, Russia presented medieval Russian architectural forms at all subsequent exhibitions. An important feature of Russia’s exhibition building abroad was the supreme desire to achieve high quality despite the fact that the structures were doomed to destruction. Russian architects strove to create an original image of the national exhibition pavilion, and so their appeal to medieval Russian architecture was natural. The path followed by Russia when participating in world and international exhibitions was not chosen by chance. This was the route to Russia’s assertion of her national culture in the West.
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Zueva, Ekaterina D., and Alexander D. Boronenko. "EXHIBITION AS AN IMPORTANT TOOL OF MARKETING COMMUNICATIONS." EKONOMIKA I UPRAVLENIE: PROBLEMY, RESHENIYA 6/8, no. 147 (2024): 221–27. http://dx.doi.org/10.36871/ek.up.p.r.2024.06.08.031.
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In this article, the authors revealed the importance of exhibition activity in modern conditions. An analysis of the exhibition market is carried out, the main advantages of participation in exhibitions are revealed, and trends in the development of exhibition activities in Russia are established. The authors determined the importance of the exhibition as an important tool for marketing communications using the example of the international exhibition «CPM – Collection Premiere Moscow EXPO 2023» and the stand of the Academy of Fashion Marketing. At the same time, the authors placed special emphasis on the analysis of the exhibition market, determined the importance and effectiveness of exhibitions in the modern market, analyzed the largest exhibition «Russia» at VDNKh, determined the trend in the development of exhibition activities, described the organization of the work of the Academy of Fashion Marketing at the exhibition «CPM – Collection Premiere Moscow EXPO 2023», developed recommendations for the exhibition activities of the Academy of Fashion Marketing.
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Panova, Iryna, Mykola Pysarevskiy та Danylo Semenenko. "Тheoretical foundations of exhibition activity research". Journal of Economics and International Relations, № 19 (30 червня 2024): 89–97. https://doi.org/10.26565/2310-9513-2024-19-09.
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Exhibition activity is an important element of the modern cultural and economic sphere, which is reflected in various formats and concepts. The essence of this phenomenon is to create a platform for public display of products, ideas, creativity and achievements in various fields of life. Exhibitions bring together both producers and consumers, creating a unique opportunity to share experiences, ideas and contacts. Ukraine, like many other countries, has its own organizational and legal framework for state regulation of exhibition activities. This framework includes legislative acts that define the procedure for organizing and holding exhibitions, establish rules of participation for organizers and exhibitors, and determine liability for violation of the established norms. Foreign experience in implementing exhibition projects can be an important source of learning and innovation for Ukraine. Many countries are actively using exhibitions as a tool to promote economic and cultural development, introducing new technologies, stimulating tourism, and maintaining international relations. The object of research is exhibition activity. The subject of research is exhibition activity theoretical foundations of exhibition activity research. The goal of the study is to investigate the scientific and theoretical substantiation of exhibition activity as a factor in tourism development. The tasks set to achieve the goal are to study the essence and definition of “exhibition activity”; to consider the organizational and legal framework for state regulation of exhibition activity in Ukraine; to study foreign experience in implementing exhibition projects. To achieve this goal, the following research methods were used: analytical, evaluative, comparative, statistical, graphical, descriptive, and cartographic. Conclusions: it is found that exhibition activity is an important mechanism for promoting the development of economy, culture and international cooperation. It is highlighted that knowledge of the essence of this phenomenon, understanding of the organizational and legal framework in the country and analysis of foreign experience help to improve and develop the exhibition sphere in the country.
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Pavlova, Olga B. "Documentation and preservation problems of the “original” of the temporary exhibitions within the framework of the periodical art projects of the XX–XXI centuries." Podlinnik, no. 1 (March 2024): 62–73. https://doi.org/10.28995/3034-3224-2024-1-62-73.
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A temporary exhibition is a dual subject. It is concrete, purely material, located in a specific space during its holding period. But at the end of this period the exhibition becomes a fancy memory. The relevant questions are rised: what is the “original” of the exhibition and how to preserve it? The situation is more complicated when the exhibition concept is performative and interactive. In this article these issues are illustrated with the help of examples from exhibitions that took place within international exhibition art projects of the XX–XXI centuries.
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Kusuda, Yoshihiro. "The International Robot Exhibition 1997." Industrial Robot: An International Journal 25, no. 3 (1998): 193–95. http://dx.doi.org/10.1108/01439919810216529.
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Dunwoody, Richard. "Photographic exhibition for international charity." Equine Health 2014, no. 15 (2014): 40–41. http://dx.doi.org/10.12968/eqhe.2014.1.15.40.
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Kolesov, G. M. "Forth international AnalyticaExpo-2006 exhibition." Journal of Analytical Chemistry 61, no. 12 (2006): 1212–14. http://dx.doi.org/10.1134/s1061934806120161.
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MCCONVILLE, P. S. "Notes On Glasgow International Exhibition." Journal of the Society of Dyers and Colourists 17, no. 8 (2008): 197. http://dx.doi.org/10.1111/j.1478-4408.1901.tb00203.x.
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Kolesov, G. M. "Third International Exhibition “AnalyticaExpo-2005”." Journal of Analytical Chemistry 60, no. 12 (2005): 1175–78. http://dx.doi.org/10.1007/s10809-005-0263-y.
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Li, Xi, Runzhe Yu, and Xinwei Su. "Environmental Beliefs and Pro-Environmental Behavioral Intention of an Environmentally Themed Exhibition Audience: The Mediation Role of Exhibition Attachment." SAGE Open 11, no. 2 (2021): 215824402110279. http://dx.doi.org/10.1177/21582440211027966.
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Many scholars have focused on the role of exhibitions in business promotion, and numerous studies have been conducted. The exhibition may influence the audience’s behaviors through the dissemination of information and ideas, but few researchers have looked into this further. There is a distinct lack of research on the process of exhibition influencing people’s behavioral intentions. Based on the belief–emotion–norm theoretical model, this study integrates environmental beliefs, exhibition attachment, and an audience’s environmental behavior intentions into a research model to explain how the exhibition affects the audience. The Macau International Environmental Cooperation Forum & Exhibition attendees served as the research object in the current empirical study. The study’s findings suggest that audiences’ environmental beliefs may have a significant and positive impact on their attachment to environmentally themed exhibitions as well as their environmental behavioral intentions. This study also confirmed that attachment to exhibitions, a temporary space, can play an important mediating role between environmental beliefs and intentions to engage in pro-environmental behavior. The exhibition dependency, in particular, acts as a mediator between environmental beliefs and pro-environmental behavior intentions. Although the mediating effect of exhibition identity is insignificant, exhibition dependence–exhibition identity as a whole has a partial mediating effect in the process of influencing exhibition audiences’ environmental behavior. This research helps to improve our understanding of how environmentally themed exhibitions influence audience behavior. It also has implications for exhibition organizers in terms of better exhibition planning, more effective information transmission, and influencing audience behavior.
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Sadovnichaya, A. V. "Strategic regulation and motivation for the exhibition and trade fair industry." Russian Journal of Industrial Economics 11, no. 3 (2018): 215–25. http://dx.doi.org/10.17073/2072-1633-2018-3-215-225.
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The exhibition industry, despite its relative novelty, is actively developing and interacting with all sectors of the global and national economies. International exhibitions offer producers and exporters ways of developing new markets, displaying samples of goods, services and technologies. For the government, supporting exhibitors, both inside the country and internationally, has turned into one of the organizational forms of pursuing their most important economic interests. Due to the objective trends and in furtherance of national interests it has become necessary to develop a strategy for the development of the exhibition and trade fair industry, to determine its priorities with competitive advantages and to create integrated program/projectbased mechanisms for its implementation. A current trend in the development of the new industry consists in various forms and methods of its support at both the federal and regional levels. The issue of regulation and standardization of the exhibition industry, and training professional personnel has also been on the agenda. The fragmentary and discrete approach to creating standards for exhibition and fair activities should be replaced by comprehensive management. At the national level, it is also necessary to implement a systemic unified approach to financial motivation and compensation for costs of participation in exhibitions, and to use other support measures as aimed at both organizers of international exhibitions and exhibition facilities. The specified development trends of the brand-new exhibition and trade fair industry are being discussed in this paper.
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Honma, et al., Tatsuo. "Exhibiting JIRA Booth in ECR2010 -Reported by JIRA International Exhibition WG-." Japanese Journal of Radiological Technology 66, no. 5 (2010): 583–85. http://dx.doi.org/10.6009/jjrt.66.583.
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Hanifati, Khusnul. "Koloniale Tentoonstelling Semarang as an Industrial Tourism Destination." RUANG-SPACE, Jurnal Lingkungan Binaan (Space : Journal of the Built Environment) 11, no. 1 (2024): 139. http://dx.doi.org/10.24843/jrs.2024.v11.i01.p08.
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The idea behind the world exhibitions event was to promote international trade by exhibiting goods, colonial achievements, and the identities of the colonies. However, Georg Simmel’s notes in “The Berlin Trade Exhibition” showed that the exhibitions developed during the nineteenth century specifically responded to the competitive demands of the industrial mode and money economy. Thus, the purpose of the world exhibition is not merely as an annual fair; rather, it has socioeconomic and cultural aspects represented by the colony on a smaller scale. A similar pattern was also found in the Colonial Exhibition of Semarang. As one of the biggest exhibitions held in Southeast Asia in the early 20th century, the exhibition displayed the Dutch Colonial’s highest achievement in the Dutch East Indies. It represents modern life's industrial and technological advancement and temporarily serves as the center of world civilization. Yet there is a distinct contrast between the natives and European visitors, which causes a contradiction between modernism and traditionalism exhibited in the exhibition. This paper examines Koloniale Tentoonstelling Semarang as the representation of an industrial city and an attraction for a touristic destination. It aims to investigate how world exhibitions served not only as platforms for promoting international trade but also as reflections of the socioeconomic and cultural dynamics of the time. Keywords: exhibition; colonial; Semarang; Sentiling; Tentoonstelling AbstrakGagasan di balik kegiatan world exhibitions adalah untuk mempromosikan perdagangan internasional dengan memamerkan barang, pencapaian kolonial, dan identitas koloni. Namun, catatan Georg Simmel dalam “The Berlin Trade Exhibition” menunjukkan bahwa pameran yang dikembangkan di abad kesembilan belas secara khusus menanggapi tuntutan kompetitif industri dan ekonomi. Oleh karena itu, tujuan pameran dunia bukan hanya sebagai pameran tahunan; namun juga memiliki aspek sosial, ekonomi, dan budaya yang diwakili oleh koloni dalam skala yang lebih kecil. Pola serupa juga ditemukan dalam Pameran Kolonial Semarang. Sebagai salah satu eksibisi terbesar yang diselenggarakan di Asia Tenggara di awal abad ke-20, pameran ini menampilkan pencapaian tertinggi Kolonial Belanda di Hindia Belanda. Hal ini mencerminkan kemajuan industri dan teknologi kehidupan modern yang ditampilkan untuk sementara waktu sebagai pusat peradaban dunia. Namun terdapat kondisi yang mencolok antara penduduk asli dan pengunjung dari Eropa, sehingga menimbulkan kontradiksi antara modernisme dan tradisionalisme yang dipamerkan dalam pameran ini. Tulisan ini akan mengkaji Koloniale Tentoonstelling Semarang sebagai representasi kota industri dan daya tarik destinasi wisata. Tulisan ini bertujuan untuk menyelidiki bagaimana pameran dunia tidak hanya berfungsi sebagai wadah untuk mempromosikan perdagangan internasional tetapi juga sebagai cerminan dinamika sosial ekonomi dan budaya pada saat itu.Kata kunci: pameran; kolonial; Semarang; Sentiling; Tentoonstelling
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Gough, Maria. "Model Exhibition." October 150 (October 2014): 9–26. http://dx.doi.org/10.1162/octo_a_00198.
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Despite the fact that it was never realized at full scale, Vladimir Tatlin's long-lost model for his Monument to the Third International (1920) remains to this day the most widely known work of the Soviet avant-garde. A visionary proposal for a four-hundred-meter tower in iron and glass conceived at the height of the Russian Civil War, the monument was to house the headquarters of the Third International, or Comintern, the international organization of Communist, socialist, and other left-wing parties and workers' organizations founded in Moscow in the wake of the October Revolution with the objective of fomenting revolutionary agitation abroad. Constructed in his spacious Petrograd studio, which was once the mosaics workshop of the imperial Academy of Art, Tatlin's approximately 1:80 scale model comprises a skeletal wooden armature of two upward-moving spirals and a massive diagonal girder, within which are stacked four revolving geometrical volumes made out of paper, these last set in motion by means of a rotary crank located underneath the display platform. In the proposed monument-building, these volumes were to contain the Comintern's legislature, executive branch, press bureau, and radio station. According to the later recollection of Tevel' Schapiro, who assisted Tatlin in his construction of the model, two large arch spans at ground level were designed so that the tower could straddle the banks of the river Neva in Petrograd, the birthplace of the 1917 revolutions.
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Chang, Ting-Jun. "The Effect of Exhibition on Urban Economic Development." Business Prospects 2, no. 2 (2021): 101–5. http://dx.doi.org/10.52288/bp.27089851.2021.12.16.
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Along with the process of economic globalization, international exhibition concentrates the flow of people, logistics and information, which is in line with the trend of economic globalization. Exhibition economy is an important part of the global economy, and the study of exhibition will play a decisive role in regional economic development. This paper analyzes the influence of the number of exhibition activities, exhibition area, number of meeting activities and the number of meeting participants on direct economic benefits, induced economic benefits and total economic benefits on Xiamen City using multiple regression analysis. The results demonstrate the importance and difference of exhibitions and meetings to the economic development of Xiamen City.
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Sabinina, Anastasia A. "Project of The All-Slavic Art and Industry Exhibition in St. Petersburg: 1902–1912." Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 71 (2024): 225–33. http://dx.doi.org/10.37816/2073-9567-2024-71-225-233.
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The paper examines the All-Slavic Art and Industry Exhibition. Preparations took 10 years: from 1902 to 1912. Using archival materials and early 20th century periodicals, the author analyses the exhibition as part of a global trend toward national and international art exhibitions and as a reflection of the St. Petersburg art scene at the turn of the 20th century, which welcomed contemporary art from various countries: from Germany to Japan. The exhibition was organized by the Petersburg Slavic Benevolent Society, which established a dedicated Exhibition Committee. The committee secured permission from the Tsar and funding from the Minister of Finance to carry out the project. The exhibition aimed to foster new trade contacts and showcase the unity and cohesion of the Slavic peoples in response to the perceived threat of cultural expansion by Hungary and Germany. As attendees showed increasing enthusiasm for the exhibition, the organizers expanded their plans, making them more ambitious and costly. However, the exhibition ultimately did not take place due to foreign policy issues. This study contextualizes the All-Slavic exhibition within the political climate of the time and explores the role of art in international diplomacy. Additionally, the research highlights other All-Slavic art exhibition projects, including those held abroad.
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Ferraz de Matos, Patrícia. "Female landscapes." Revista Portuguesa de História 55 (September 30, 2024): 305–25. http://dx.doi.org/10.14195/0870-4147_55_12.
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The aim of this article is to reflect on the presence of colonized women in photographs and other representations, such as drawings, posters, postcards, exhibition catalogues, newspapers and magazines, which were disseminated in the context of the Portuguese colonial expositions, and in exhibition spaces conceived by the Portuguese with a colonial component. Generally speaking, the exhibitions sought to put forward the progress, taking into account land, rail and sea transport, but also roads, communications, trade, industry, arts, architecture, culture, and the most recent advances in science and medicine. The exhibitions were also places where the logic of colonial models was staged, showing a clear relationship between colonial domination and gender representation. The research includes several materials produced throughout the 1930s (a fertile period regarding the Portuguese participation in this kind of international events) intended to publicize these exhibitions or serve as a complement to them. These materials may include art works or merely propagandistic works, or works that combine both components. The analysis will include materials associated with several exhibitions between 1931 and 1940, such as the International Colonial Exhibition of Paris (1931), the Lisbon Industrial Exhibition (1932), the Portuguese Colonial Exhibition in Porto (1934), the Exhibition of the Portuguese World in Lisbon (1940), and the Portugal of the Little Ones (Portugal dos Pequenitos) in Coimbra (1940). The contexts in which women appear and the way they are represented — as active beings (performing tasks), as contemplative beings (as in natural landscapes) or as objects of sexual desire, revealing the context of power (legislative, administrative, male and colonial) in which the images and the representations were produced — will be analyzed.
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Krzysztofowicz-Kozakowska, Stefania. "„Raumkunst” autorstwa Teodora Axentowicza." Lehahayer 8 (December 19, 2021): 185–90. http://dx.doi.org/10.12797/lh.08.2021.08.06.
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Raumkunst by Teodor Axentowicz
 Three exhibition arrangements analysed in the article – the halls of Polish artists on the exhibitions in St. Louis (1904), London (1906) and XI International Biennial of Art in Venice (1914) – allow us to consider Teodor Axentowicz as a precursor of the new form of organisation of the exhibition space within the Polish culture. This form was a pattern for the subsequent architects of exhibitions belonging to the Society of Polish Artists “Art”. Projects of Axentowicz perfectly fitted to the modern style of exhibition interior arrangement, which was promoted by the Viennese environment of “Secession” at the turn of the 20th century.
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Godfrey, Amyas. "Exhibition." RUSI Journal 150, no. 5 (2005): 74–75. http://dx.doi.org/10.1080/03071840509431888.
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Pepper, Andrew. "The Gallery as a Location for Research-Informed Practice and Critical Reflection." Arts 8, no. 4 (2019): 126. http://dx.doi.org/10.3390/arts8040126.
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Creative holography could still be considered a fringe medium or methodology, compared to mainstream art activities. Unsurprisingly, work using this technology continues to be shown together with other holographic works. This paper examines the merits of exhibiting such works alongside other media. It also explores how this can contribute to the development of a personal critical framework and a broader analytical discourse about creative holography. The perceived limitations of showing holograms in a “gallery ghetto” are explored using early critical art reviews about these group exhibitions. An international exhibition, which toured the United Kingdom (UK) and Australia, is used as a framework to expand the discussion. These exhibitions include examples of the author’s holographic work and those of artists working with other (non-holographic) media and approaches. The touring exhibition as a transient, research-informed process is investigated, as is its impact on the critical development of work using holography as a valid medium, approach, and methodology in the creative arts.
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Žarić, Stefan. "Muzealizacija bez muzeologije: nacionalni muzeji i izložbe mode između istorije, teorije i prakse." Issues in Ethnology and Anthropology 10, no. 4 (2016): 915. http://dx.doi.org/10.21301/eap.v10i4.7.
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Studies of the theory and history of fashion, which were up until recently grouped with culture studies, gender studies, communicology, art history and anthropology are, on the academic map of the 21st century being established as separate disciplines. Consolidating these contexts, the affirmation of fashion studies has been most prevalent within the museology of fashion, as it - or rather – fashion museology is becoming one of the leading tendencies within contemporary museum practices. This paper views fashion as a specific kind of system, coded through sociocultural codes, and finds the reason for the ever-increasing number of exhibitions of fashion on the international as well as the national museum scene in the codes of fashion which oscillate between the aesthetic and the commercial. By affirming fashion as an art form on the one hand and increasing the profitability of the institution on the other, fashion exhibitions enable museums to become „fashionable“ – to keep up with contemporary, more liberal exhibition concepts. Despite the fact that in this year there have been a large number of fashion exhibitions in national museums, fashion is still without its own museology, a scientific theory which would explain it as a museum phenomenon. The exhibits are interpreted historically, while explaining their utilitarian and aesthetic value, while the question of why fashion is exhibited as an art form or a kind of cultural production to the consumer of the exhibition - the visitor – remains unanswered. By analyzing historical events which conditioned the museum exhibiting of fashion as well as the different conceptions of its exhibition, the author strives to – through the juxtaposition of international and national exhibitions catch sight of the causes of the lack of a museology of fashion, and open up the issue of its affirmation within the professional academic and museum community of Serbia.
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Grussani, Linda, Rachel E. Smith, Garance Nyssen, et al. "Exhibition Reviews." Museum Worlds 12, no. 1 (2024): 241–60. https://doi.org/10.3167/armw.2024.120118.
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In 2022, the MacKenzie Art Gallery in Regina, Saskatchewan, Canada, organized and launched the ground-breaking exhibition Radical Stitch, North America's largest ever beadwork exhibition to feature contemporary First Nations, Métis, Inuit, and Native American artists. The exhibition, which has been awarded the 2024 Canadian Museums Association/Association des Musées Canadiens Award of Outstanding Achievement, is curated by an esteemed Indigenous curatorial team comprising Sherry Farrell Racette (University of Regina), Cathy Mattes (University of Winnipeg), and Michelle LaVallee (National Gallery of Canada) and joined a series of smaller exhibitions emerging in recent years that underscore the widespread and growing practices of beaders. Spanning two large gallery spaces, the exhibition brought together over 100 works by 48 artists from coast to coast to coast and from both sides of the imposed International Boundary dividing Canada and the United States.
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Lanzarini, Orietta, and Davide Turrini. "Mostre. Alla ricerca di una definizione." Opus Incertum 10 (December 24, 2024): 8–11. https://doi.org/10.36253/opus-15830.
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The exhibition project, inherently in a state of constant evolution, demonstrates a remarkable capacity to interpret diverse instances (social, artistic, economic, and political) while integrating stimuli from different disciplinary domains. In the investigated period, running from 1951 to 1992, exhibitions emerged as pivotal protagonists of both the cultural and social stage, prompting exhibition designers and curators to develop innovative strategies of communication. Following this red thread, the essays collected in the following sections explore exhibition design through three main perspectives: analytical, experimental, and authorial. The first section examines the representation, within the exhibition space, of prominent historical figures, artistic and documentary material, as well as the openness to social themes and cultural practices. The second section explores, through selected international experiences, diverse approaches to transcending disciplinary boundaries, fostering new forms of dialogue with audiences. Finally, the third section and the Delizie degli eruditi investigate some exemplary ‘authorial exhibitions’, where the architectural language of the authors is interwoven with the specific demands of exhibition design. Finally, the Atlante – Ritratto di una mostra section illustrates, through a sequence of photographs, an exemplary exhibition experience.
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Ponomareva, Varvara Vitalievna. "First Russian National exhibition dedicated to hygiene and public health, 1893." Moscow University Anthropology Bulletin (Vestnik Moskovskogo Universiteta. Seria XXIII. Antropologia), no. 2 (May 22, 2023): 113–22. http://dx.doi.org/10.32521/2074-8132.2023.1.113-122.
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Introduction. Since 1820s, it became customary in the Russian Empire to hold various exhibitions - dedicated to manufacture and consequently industry; agricultural, local and national, as well as take part in international exhibitions. Towards the end of the nineteenth century, the number, scale and thematic diversity of such exhibitions grew significantly. Exhibitions related activities, which claimed such wide range and popularity, marked the change in public thought process about the new economic structures being established, and the understanding of the issues and risks associated with them, following industrial revolution. One of the problems identified was the deterioration of sanitary and hygiene conditions in cities, caused by growth in industrial production and population. Materials and methods. Catalogues of the Russian National Hygiene Exhibition of 1893 are the sources for this work. As well as documenting activities of the exhibition, they contain illustrative materials, scientific and academic reports on urban life, data from the periodicals of that era, in the study of which historico-typological and historico-descriptive methods are used. Results. In the majority of differently themed exhibitions, natural science and medical sections were established, which confirmed the need for targeted development of medical and sanitary aspects. These sections, which were partly organised by scientific societies, were seen, for example, at the Polytechnic Exhibition in 1872, the Craft Exhibition in 1885, Siberian-Ural Scientific and Industrial Exhibition in 1887 in Ekaterinburg, and Scientific and Industrial Exhibition of the Volzhsko-Kamskii region in Kazan in 1890. Finally, in May 1893, Russian National Exhibition was opened in St Petersburg dedicated solely to the development of sanitary and hygienic issues. Exhibition’s organisers declared enlightenment to be its main goal- popularisation of knowledge, scientific discoveries, and inventions in the field of hygiene and sanitation. A large number of state institutions and departments, scientific and public organisations, and private entrepreneurs helped to prepare this exhibition, presenting about 50 thousand exhibits that describe all aspects of human life from both medical and sanitary points of view. Various models and mockups, drawings, sketches and photographs, devices, equipment and tools, demonstrated achievements both in scientific and practical terms. Conclusion. This exhibition attracted high levels of attention, and its exhibits convincingly proved existence of serious problems and threats in the area of public hygiene and sanitation. It became apparent that in order to solve these on a contemporary level, it was necessary to rely on joint scientific and technological resources. Russia’s participation in the World Hygiene Exhibition in 1911 was another step in this direction, followed by the launch of Russia’s second National Hygiene Exhibition in 1913, the footprint of which grew even larger. @ 2023. This work is licensed under a CC BY 4.0 license.
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Nakamura, Yasuo. "Textile International Forum and Exhibition 2001." FIBER 58, no. 5 (2002): P.126—P.130. http://dx.doi.org/10.2115/fiber.58.p_126.
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Talebi, Hamid. "The 9th Tehran International Tourism Exhibition." Anatolia 28, no. 2 (2016): 289–90. http://dx.doi.org/10.1080/13032917.2016.1244756.
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Zhong, Fan. "International Convention and Exhibition Center, Ningbo." Structural Engineering International 14, no. 1 (2004): 18–20. http://dx.doi.org/10.2749/101686604777964170.
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Ding, Jieming, and Si Chao. "International Conference and Exhibition Center, DongGuan." Structural Engineering International 14, no. 1 (2004): 12–13. http://dx.doi.org/10.2749/101686604777964297.
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Kolesov, G. M. "Sixth international exhibition A-TESTex-2008." Journal of Analytical Chemistry 64, no. 3 (2009): 317–18. http://dx.doi.org/10.1134/s1061934809030204.
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Jankevičiūtė, Giedrė. "State Strategy of International Art Exhibitions in Interwar Lithuania 1918–1940." Arts 13, no. 1 (2024): 19. http://dx.doi.org/10.3390/arts13010019.
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The Republic of Lithuania was one of several young nation-states that re-established or proclaimed their statehood in the aftermath of the First World War, following the dissolution of empires in Europe. The quest for cultural identity and attempts at its representation within the country, in the region, and on the international stage was the crucial element in the nation-building process, where cultural diplomacy played a pivotal role. For Lithuania, as for most European countries of that era, exhibitions, especially art exhibitions or art sections in the case of world shows (for instance, the Expo 1937 in Paris or the New York World’s Fair in 1939), served as a prominent means of expressing its identity. An overview of the Lithuanian state art exhibition strategy, the dynamics of its organizational process, the exhibition content, and their geographical reach are discussed in the article. To comprehensively grasp Lithuania’s cultural strategy and to reconstruct the network of its artistic connections, foreign art exhibitions organized at the state level and the acquisition of artifacts from these exhibitions for Lithuania’s national art collection, the M. K. Čiurlionis Art Gallery, are briefly reviewed as well.
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Bi, Yahua, Sooyoung Choi, and Insin Kim. "Visitors’ Motives for Attending a Healthy Food Exhibition." International Journal of Environmental Research and Public Health 17, no. 8 (2020): 2703. http://dx.doi.org/10.3390/ijerph17082703.
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Environmental issues (i.e., food safety and environmental pollution) have increased concerns about individuals’ health as well as global environment. These concerns drive awareness for the influences of healthy foods, and eventually lead them to visit healthy food exhibitions. This research aims to understand the attendees’ motives for participating in a healthy food exhibition. Specific objectives are to identify crucial visitors’ motives influencing satisfaction with the healthy food exhibition and to verify whether visitors’ satisfaction with the exhibition enhances their memory for the experience in the exhibition. The survey was conducted by targeting visitors who participated in the Busan International Food Expo, and the data collected from 363 attendees were analyzed using the SPSS and AMOS statistical programs. The analysis results revealed that three dimensions of healthy food exhibition motives, namely perceived healthiness, perceived hedonism and perceived food safety, increase visitors’ satisfaction with the healthy food exhibition, and that satisfaction with the healthy food exhibition further had a positive impact on the visitors’ memory for the exhibition experience.
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Honma, et al., Tatsuo. "Exhibiting JIRA Booth in ECR 2011 －Reported by JIRA International Exhibition WG－." Japanese Journal of Radiological Technology 67, no. 5 (2011): 613–15. http://dx.doi.org/10.6009/jjrt.67.613.
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Spiridon (Ciocoiu), Ioana-Cristina. "„Efectul Picasso”. Expoziție desfășurată la Muzeul de Artă Recentă, București, 27 septembrie 2023-22 ianuarie 2024." Revista Muzeelor 1 (2024): 175–82. https://doi.org/10.61789/rm.2024.14.
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The exhibition “The Picasso Effect”, held at the private art museum MARe, is part of an international celebration of 50 years from Pablo Picasso’s death, along with exhibitions held at other 42 worldwide museums, such as “The Echo of Picasso” in Malaga, “Diego Velázquez invites Pablo Picasso... and Carmen Calvo” at the House of Velázquez, “Picasso Sculptor. Matter and Body” at Guggenheim Museum from Bilbao, “Picasso: drawing to infinity” at Centre Pompidou. The relevance of the exhibition held in Bucharest resides mainly in: mapping Bucharest for international, acclaimed artists, highlighting the influence of the Spanish painter on Romanian art and engaging Romanian artists as conscious and active participants in the international contemporary art.
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Lavrov, Dmitrii Evgen'evich. "Exhibition activity of the Palekh lacquer miniature craft (1923-1939)." Человек и культура, no. 4 (April 2022): 36–45. http://dx.doi.org/10.25136/2409-8744.2022.4.36873.
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The article is devoted to the analysis of the exhibition activity of the masters of the Palekh lacquer miniature. The author has chosen as a chronological period the first fifteen years of the existence of this fishery – from its inception in the first half of the 1920s to the beginning of the Second World War. The subject of the study, therefore, is an analysis of the exhibition practices of the Palekh art craft of the pre-war period (1923-1939). The article shows the importance of the exhibition activity of the Palekh lacquer craft at all stages of this brief, but nevertheless extremely eventful period. The purpose of the article is to show the importance that the exhibition activity had for the success and public recognition of Palekh as a new and quickly became the most famous lacquer craft in Russia. The scientific novelty of the article consists in the fact that, using historical-typological and structural research methods, as well as a historical-systematic approach, the author analyzes the most important domestic and foreign shows of the 1920s - 1930s, at which the products of the Palekh lacquer miniature were exhibited. The author emphasizes an important circumstance: the very formation and strengthening of the Palekh lacquer miniature craft in the first half and mid-1920s was caused precisely by the success of the prototypes exhibited at the largest exhibitions of that time, such as the All-Russian Exhibition of 1923 in Moscow, as well as the International Exhibition in Paris of 1925. At the same time, it is shown that Palekh's products continued to be successful at the shows (the exhibition "10 years of October" in 1927, the Soviet Exhibition in New York in 1928, the International Exhibition in Paris in 1937 and many other exhibitions analyzed in the article). Thus, it is the justification of the success of the exhibition activity of the Palekh lacquer miniature craft as an important factor of its public recognition that is the main conclusion of the article.
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Yoon, Ki-Kwan, So-Sun Lim, and Mi-Na Park. "Impact of Pavilion Quality on Exhibitor Performance at an International Trade Exhibition." Procedia - Social and Behavioral Sciences 40 (2012): 681–88. http://dx.doi.org/10.1016/j.sbspro.2012.03.249.
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