Journal articles on the topic 'London International Exhibition'

The article analyzes the experience of an original exhibition experiment – the reconstruction of XVII th century buildings at the sites of international exhibitions of the 1880s in London. The circumstances of the origin of the idea and implementation in South Kensington «Streets of Old London» are considered. It was an eclectic set of buildings that really existed in the British capital before the 1666 Great Fire and reproduced in almost original form in 1884. Based on exhibition documents, press publications and photographs, a description is given to the appearance of the «street» and its place within the expositions. Based on photographs and printed sources, a description of the buildings themselves is given: typical urban residential buildings, shops, churches, etc. It is concluded that this example illustrates the educational function of the thematic exhibitions in London, their close interweaving with the problems of the city's architecture, as well as the temporality and transiency of such structures. The last is a characteristic feature of the exhibition space.

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.

The exhibition of decorative and industrial arts that was held in Jaipur in 1883 under the patronage of Maharaja Sawai Madho Singh II (1880–1922) brought together the work of artists and craftsmen from many regions of India, but gave special treatment to the neighbouring states of Rajasthan, and to the pupils of Jaipur's own recently established School of Art. It led to the establishment of a permanent museum of industrial arts in Jaipur, which still exists and continues to hold many of the original exhibits. One of many ambitious exhibitions that followed in the wake of the Great Exhibition of 1851, the Jaipur Exhibition was the first such to be held in an Indian state, coinciding with the International Exhibition in Calcutta and preceding the Indian and Colonial Exhibition in London of 1886.

The International Exhibition of Chinese Art that took place in London’s Burlington House from November 1935 to March 1936 is recognised as the major exhibition of ancient and classical Chinese art of the twentieth century. Over two hundred collectors and institutions from 14 countries provided their objects of art to the exhibition. None of the previous exhibitions had had as many items: the number of objects was extraordinary with 3,080 entries in the catalogue of the London exhibition. Moreover, it was the first foreign exhibition presenting items from the former imperial collection of the Forbidden City (Gugun Museum since 1925). In addition to numerous porcelain and bronze items from private and museum collections, the exhibition contained about 300 paintings (monumental painting, scrolls, album sheets, and fans). While it is generally believed that western collectors only started being seriously interested in painting after World War II, the exhibition contained over a hundred paintings of non-Chinese provenance. Due to its scale, the International Exhibition of Chinese Art of 1935 could be considered a representative example of trends in the Chinese art collecting of the 1930s. For this reason, a close analysis of the catalogue may help enrich our idea of the formation of collections of Chinese art, the formation of taste, and its evolution over time. Data related to the paintings from the catalogue are analysed and then compared to the current descriptions from museum databases and catalogues.

Kader Attia lives and works in Berlin and Algiers. His first solo exhibition was held in 1996 in the Democratic Republic of Congo. In 2003, he gained international recognition at the 50th Venice Biennale. In 2014, he was awarded the Berlin Art Prize: Jubilee Foundation 1848/1948. Recent exhibitions include Culture, Another Nature Repaired (solo show), Middelheim Museum, Antwerp; Contre Nature (solo show), Beirut Art Center; Continuum of Repair: The Light of Jacob’s Ladder (solo show), Whitechapel Gallery, London; Repair. 5 Acts (solo show), KW Institute for Contemporary Art, Berlin; Construire, Déconstruire, Reconstruire: Le Corps Utopique (solo show), Musée d’Art Moderne de la Ville de Paris; the Biennale of Dakar; dOCUMENTA(13) in Kassel; Performing Histories (1) at MoMA, New York; and Contested Terrains, Tate Modern, London.

A report on elements of the Chartered Institute of Personnel and Development Annual Conference and Exhibition, 9–11 November 2009 in Manchester, and Going Global: The Association for Coaching International Conference, 11–12 March 2010, in London.

Abstract The article examines F. M. Dostoevsky’s visit to London in the summer of 1862, in the course of his first trip abroad, which resulted in the writing of Winter Notes on Summer Impressions. A Summer-Long Feuilleton. The task to untangle the impact of numerous impressions on Dostoevsky’s creative process is initiated and the newly arisen circumstances that he encountered on his return to St. Petersburg highlighted. Winter Notes is viewed as a groundbreaking work in Dostoevsky’s canon that contains the seeds of future great works, though not primarily in accordance with the multiple ideologically based readings that have sought to define it. Instead Winter Notes is recognised for its author’s aesthetic explorations into poetics within the confines of Tsarist censorship which required that ‘Official Nationality’, the imperial ideological doctrine be upheld. Dostoevsky’s visit to the 1862 International Exhibition and its art galleries is addressed for the first time on the basis of his brother Mikhail’s letters and other evidence. The exhibition building and the works of William Hogarth, John Martin and J.M.W.Turner are singled out. Their imprint on Dostoevsky’s feuilleton is observed through the stages of impressions gained via intermedial interplay. It affirms that pre-existing notions in the ‘discourse of Englishness’ were absorbed and reinvented by Dostoevsky with the use of figurative language, clarifying the origin of metaphors used in the text, together with literary and biblical allusions. A list of Russian and British artists exhibiting in the International Exhibition of 1862 is included.

No event of the post-Second World War decade in Britain is recalled as affectionately or enveloped in such an aura of nostalgia as the Festival of Britain, a five-month series of cultural events and exhibits, with its centerpiece at the South Bank in London. But the Festival dear to the recollections of those growing up during and after the war diverged sharply from the original conception of its progenitors.In 1943 the Royal Society of the Arts, partly responsible for the Great Exhibition of 1851, suggested to the government that an international exhibition along similar lines be staged in 1951 to commemorate the earlier event. To propose a celebratory occasion in 1943 was an act of faith that the war would not only end successfully, but that Britain would have recovered sufficiently by 1951 to warrant such a demonstration. In September 1945, with the war over and Labour in power, Gerald Barry, the editor of the News Chronicle, addressed an open letter to Stafford Cripps, then President of the Board of Trade, advocating a trade and cultural exhibition in London as a way of commemorating the centenary of the Crystal Palace. Such an exhibition would advertise British products and display British prowess in design and craftsmanship. He favored a site in the center of London, such as Hyde Park or Battersea, either of which would provide ample space for such an exhibition. What prompted these suggestions was the need to provide practical help to British commerce at a time when it was clearly under pressure shifting from wartime controls to peacetime competition.

MICROSCIENCE 2010 was held at the ExCeL International Exhibition and Conference Centre, London, from June 29 to July 1. The conference attracted 519 delegates—the first time that the 500-barrier has been broken. Overall, 2139 visitors from 30 countries from across 5 continents passed through the doors during the three days.

AbstractHistorians have given much attention to museums and exhibitions as sites for the production and communication of knowledge in the nineteenth and early twentieth centuries. But few studies have analysed how the activity and participation of visitors was designed and promoted at such locations. Using Francis Galton's Anthropometric Laboratory at the International Health Exhibition in London 1884 as the empirical focal point, this paper explores a new mode of involving exhibition audiences in the late nineteenth century. Its particular form of address is characterized by an ambition to transform the visitors' self-understanding by engaging them with various techniques of scientific observation and representation of social issues. By analysing the didactics of this particular project, I argue that the observational ideal of ‘mechanical objectivity’ and associated modes of representation in this instance became an integrated part of a political vision of self-observation and self-reformation. Thus the exhibit and related projects by Galton not only underpinned a theoretical lesson, but also were part of an effort to extend a complex set of practices among the general public.

What led to the establishment of a new library space in London specializing in international contemporary drawing? Beyond providing access to collections, how will this research hub support artists practice and scholarship, and encourage deeper engagement from exhibition audiences? This article looks at the development of Outset Study's collections, audiences and events programme, and reflects on successes and challenges faced in the first year.

The evidence is here reviewed from which to conclude that a chair now at Kelmscott Manor was designed by Philip Webb and exhibited in the Mediaeval Court at the 1862 International Exhibition in London, despite the fact that it has nothing stylistically medieval about it. Analysis of the design does, however, suggest the assimilation of older Egyptian and Japanese ideas and thus that the chair in 1862 was considered derivative.

Abstract In 1862, the collector Pavel Tretyakov made his second visit to Britain, and lent three paintings to the International Exhibition held in London that year. Then aged just thirty, he had bought his first Russian paintings just six years previously, yet his collection was already of sufficient calibre for the Imperial Academy of Arts in St. Petersburg to desire works from it for the Russian submission to the London event. Moreover, the genre paintings which Tretyakov lent added spice to what was otherwise a rather routine academic display. In this respect, Tretyakov’s contribution to the 1862 exhibition could be seen to foretell his later patronage of the Peredvizhniki, who similarly unsettled the academic status quo. Yet one small but telling fact disrupts this narrative of a collector who championed the innovative and the marginalized. Tretyakov had in fact suggested lending to the exhibition paintings by Vladimir Borovikovsky, Fedor Bruni, Karl Briullov and Vasily Khudiakov, all of whom were established members of the academic firmament. But his proposal was overruled and replaced by the alternative selection of genre paintings put forward by Fedor Iordan, a stalwart of the Academy. Far from confirming an image of Tretyakov as a nonconformist whose pioneering vision shook up the practices of the establishment, the case of the 1862 exhibition thus sees the binary which has often been drawn between this ground-breaking collector and the hidebound conservatism of the Academy significantly reversed.

The Modernist painter Ceri Richards had his first real exposure to European modernism in the 1920s and 1930s. The visibility of post-impressionist art and the accessibility of turn-of-the-century art theory was accelerated for him during his first years as a student in London and, despite still being at a critical cultural distance from the modern movement in Paris, the assimilation of what he understood of Matisse and his lifelong-obsession with Picasso was rapid. This article isolates the significant exposure that came next for Richards as an emerging modernist, in and around 1936, and specifically to that year's International Surrealist Exhibition held in London.

The aim of the article is to present Regina Wasiak-Taylor – a person of many talents, as a journalist, an efficient animator of the cultural life of the Polish diaspora in Great Britain, a president of the Union of Polish Writers Abroad [hereinafter: ZPPnO – Związek Pisarzy Polskich na Obczyźnie]. The following methods have been used: qualitative analysis of the press content, critical analysis of documents, heuristic analysis, interviews. We get to know Mrs Wasiak-Taylor’s scope of activity: involvement in the organisational life of the ZPPnO, in the Pamiętnik Literacki [Literary Memoir] edited in London, practicing socio-cultural journalism and literary criticism, writing scientific articles, popularisation of the emigration’s literary life and Polish ballet, organizing, among others, multimedia theatre and stage programmes – Poetic Scene [Scena Poetycka] at the Polish Social and Cultural Association [POSK – Polski Ośrodek Społeczno-Kulturalny] in London. Also: initiation of the Literary Parlour within the Polish Watchfire at the Exhibition Road, addressed to the Polish and international intelligentsia in London, active participation in international scientific conferences. Regina Wasiak-Taylor conducts editorial work on books. She is the author of readings, laudations, and her own publications: Dzieje Nagrody Literackiej ZPPnO 1951–2011 [The History of the Literary Award of the ZPPnO 1951–2011] (London 2011), Ojczyzna literatura [Literature Fatherland] (London 2013), Alfabet wspomnień Szymona Zaremby. II Rzeczpospolita, II wojna światowa, emigracja [Szymon Zaremba’s Alphabet of Memories, Second Polish Republic, World War II, emigration] (London 2015). She initiates and promotes books by Polish authors and moderates other meetings of literary and scientific circles at the Polish Embassy in London, at the International Book Fair in Warsaw and at literary events in various places.

Fish and other water edible animals are the most numerous wild creatures that still are perceived as natural resource. Their individuality in perception by humans is mostly not recognised. In this paper I would like to discuss how fish were displayed and perceived at the World Fairs and specialised Fisheries Exhibitions that were quite numerous between 1880 and the beginning of the First World War. Among them the Great International Fisheries Exhibition in London in 1883 was the most significant and abundant and provided much material that remains not well studied by historians. Many fishing nations provided booklets and other materials for the exhibitions; the reception of the displays was discussed in scientific and popular publications and public media that included also visual materials. Why did fish become the object of such interest to the general public? What kind of stories were different nations and regions trying to tell through these displays and publications? How did fish link and divide people, especially the experts? Fisheries, as a sector of the economy, united archaic technologies and culture with the call for progress and modernisation. In addition, interest was concentrated around animals from whom humans felt removed at a large distance but who mystified them by their diversity in shape, colours, movement and, finally, taste.

Through a close reading of the curatorial project Long March: A Walking Visual Display (), this article considers that Long March was an experimental curatorial response to the conditions of contemporary Chinese art and contributes to introducing the discourse and practice of ‘curating’ to China. Tracing the main curator Lu Jie’s curatorial motivation, this research looks into what Lu has termed ‘the dilemma of contemporary Chinese art’ during the 1990s – the division of discourses from realities and artistic practices in the curating of contemporary Chinese art, which led to invalid transcultural communication in international exhibitions. This research paid special attention to Lu’s study in the ‘Creative Curating’ MA programme at Goldsmiths, University of London (1998–99), which encouraged Lu to experiment with alternative exhibition formats and review art in visual culture. These inspired Lu to relocate ‘contemporary Chinese art’ from the institutional context to its original realities in China along the historical route of the Long March. Analysing the development of Lu’s curatorial proposal Long March: A Walking Exhibition from 1999 to 2001, this research shows how the main elements of Lu’s curating shifted from objects to participants and argues the project’s curatorial intention to provoke participants was a process of localizing ‘curating’ in the Chinese context. Instead of assuming that ‘curating’ was imported into China from the West, this article views the introduction of ‘curating’ as a new discipline which helps local practitioners identify the artistic values and authorship in making art public.

This article aims to shed light on a curatorial momentum that was generated at the turn of the 2010s in the broader international art world, allowing contemporary Chinese ink works for the first time within the context of the new century to have a more geographically widespread spotlight of attention under a dual label of the Indigenous and the international. Indeed, in the run up to the 2008 Beijing Olympic Games, the curatorial approach to ink art in both China and North America and Europe began to change, emphasizing not only ink’s cultural uniqueness but also its transcultural applicability. The pioneering event to do this was the Third Chengdu Biennale in China, following which there was a noticeable escalation in similar exhibitions across countries like the United States or the United Kingdom. These ranged from the ground-breaking Ink Art: Past as Present in Contemporary China (2013–14) at New York’s Metropolitan Museum of Art (The Met) to exhibitions at international auction houses and commercial galleries, such as Christie’s or the London-based Saatchi Gallery. By focusing on the Third Chengdu Biennale and The Met’s Ink Art exhibition as the two case-study examples, this article elucidates in what specific ways present-day Chinese ink works were framed by these two significant internationally oriented exhibitions, as well as what kind of critical reception this attracted. Drawing from this analysis, the article also provides a reflection on this curatorial momentum’s both achievements and limitations, suggesting that altogether they present an important foundation for present-day curators to devise new constructive ways of positioning Chinese ink as the global contemporary medium of artistic expression.

In May 1969, Charles Harrison reviewed Morris Louis’ exhibition at the Waddington Galleries in London. Months later, he helped to install the exhibition When Attitudes Become Form at the Institute of Contemporary Arts. Harrison also wrote the catalogue text, published in Studio International. Those two texts marked a significant point in Harrison’s career. They were indicative of his disillusionment with modernist criticism, and of his burgeoning interest in the work of post-minimal and conceptual art. In this respect, the two essays mark a transition from modernism to post-modernism in the space between a formalist analysis of the art object and a more dispersed field of artistic practice, where a changed relationship between art practice, criticism, and curating was taking place. However, in the 2000s, Harrison came to reflect upon this cardinal moment. Harrison referred to his recollected experiences of the late 1960s as a ‘cherished moment of involuntary realism’, opening up issues around art writing which remain pertinent to the practice of art history.

Garden Palace stripped to the bone. Art as anamnesisLondon’s Crystal Palace, the site of the first international exhibition in 1851 and the architectural symbol of modernity, was widely imitated not only in Europe. Sydney also had its crystal palace. The Australian Garden Palace, similarly to the ones in London, New York and Munich, burnt to the ground in 1882. In 2016 aboriginal artist Jonathan Jones tried to restore it in Australia’s collective memory. However, Jones’ project, barrangal dyara skin and bones, introduces a postcolonial perspective and recoveres the narratives that were repressed in White Australia, with the hope of working through the common past.

Published a year before the landmark London International Surrealist Exhibition of 1936, Hugh Sykes Davies's prose poem Petron continues to resist both aesthetic and political categorisation. This essay clarifies Petron's contribution to the Surrealist movement in England by reading its densely allusive text as one which limns Surrealist technique and Marxist theory within a specifically English rural setting. Identifying the wanderings of its hero, Petron, as a Surrealist riff on the popular communist hikes or ‘Red Rambles’ of the 1930s, the essay shows how Petron combines radical politics and Surrealist method in its phantasmagoric representation of a fenced, enclosed, degraded, and often inaccessible English landscape.

In this article, I examine in unprecedented detail little-known Victorian craftsman William Coombe Sanders’ remarkable sheepskin Frame Resembling Carved Wood with Lobster and Crab Motif, now at the V&A, but first exhibited at the International Exhibition in London in 1862. The article asks three questions: What might we learn, from Sanders’ craft, about the likely mid-Victorian reception of Gibbons’s closely related marine works? How might we better understand Sanders’ and Gibbons’s work in the context not just of Victorian craft and design, but natural history and early twenty-first-century critical animal studies and vegan theory? And what might Sanders’ Gibbons-like relief teach us about the status of animals and humans in the longer history of still life as a genre?

Leaving to one side the sui generis Royal African Society, which in 2000 marked its centenary with a special history (Rimmer and Kirk-Greene, 2000), the formalised study of Africa in British academia may be said to be approaching its 80th year. For it was in 1926 that the International African Institute, originally the Institute of African Languages and Cultures, was founded in London, followed two years later by the maiden issue of its journal for practising Africanists, Africa, still among the flagship journals in the African field. Indeed, the 1920s were alive with new institutions promoting an interest in African affairs, whether it be the London School of Hygiene and Tropical Medicine (1924); the Phelps-Stokes Commission reports on education in British Africa (1920-24), culminating in the Colonial Office Memorandum on Education Policy (1925); the major contribution to public awareness made by the Empire Exhibition at Wembley, however politically incorrect some of its idiom seems today; or the attention generated by the League of Nations’ Mandates Commission, the bulk of whose remit was focused on Africa and whose British representative was no less than Lord Lugard, the biggest “Africanist” of his day.

EXPO, which is used as the abbreviation of the word 'exposition', which means 'World Exhibition' or 'World's Fair' in English; It is a global event that has been organized around the world since the 19th century and aims to promote the city and country in which it is held in the national and international arena, raise awareness, educate the public, share innovations, produce, support development and encourage cooperation. Our country participated in this event for the first time with the 1851 London Expo Organization during the Ottoman Empire Period. It was hosted for the first time with the Expo Organization held in Antalya in 2016, and it is the host country for the second time with the Expo organization held in Hatay on April 1, 2022. Expo 2021 Hatay, whose full name is 'International Horticulture Fair Hatay, Turkey 2021'; It was accredited as a Class B international Expo by the International Association of Horticultural Producers (AIPH) on January 23, 2017 and registered according to the decision of the AIPH Board of Directors. Within the scope of this study, the economic, cultural and environmental effects of the EXPO'21 Hatay organization, which is a very important tool for the national branding and development of Hatay, were evaluated, and suggestions were made about the correct reuse of the fairgrounds and their sustainability after the organization was over.

This article asks what is the significance of making the soldiering body (hyper)visible in war. In contrast to the techno-fetishistic portrayals of Western warfare in the 1990s, the recent counterinsurgency campaign in Afghanistan witnessed a re-centring of British soldiering bodies within the visual grammars of war. In the visibility of this body, violences once obscured were rendered viscerally visible on the bodies of British soldiers. Locating the analysis in the War Story exhibition at the Imperial War Museum, London, the article details two moments of wartime violence experienced and enacted by British soldiers, tracking how violence was mediated in, on and through these hypervisible soldiering bodies and the attending invisibility of ‘other’ bodies. The article argues that during the Afghanistan campaign, soldiers’ bodies became not just enactors of military power but crucial representational figures in the continuance of violent projects abroad and their acceptance back home.

Josiah D. Whitney and William P. Blake shared common social and educational backgrounds and pursued similar professional career paths at a time when employment in geology was undependable. Their professional paths crossed numerous times over the course of five decades in what initially was an amicable professional relationship that evolved by 1860 into competition for state geologist and director of the first California Geological Survey, and California commissioner for the London International Exhibition. Beyond simple competition, Whitney and Blake disagreed over important mainstream geological and ethnological issues germane to California during the latter half of the nineteenth century. The primary issues evolved around the potential economic value of oil and the Bodie Mining District, earthquakes and seismic risk, origin of the Yosemite Valley, the significance of the Calaveras Skull and the antiquity of man, the age of the gold-bearing rocks of California, and formation of the College of California. Both men were influential, however, Blake's contributions to the early geologic understanding of California were more optimistic and compatible with California's needs, while correctly forecasting the state's potential growth and providing insight into the geology and mineral and agricultural resources of the region. Despite Whitney's contributions while serving as director, his personal disposition and pessimistic views sealed the fate of the first geological survey of California.

Architectural casts collections — the great majority of which were created in the second half of the nineteenth or the early twentieth centuries — have in recent years met with a variety of fates. While that of the Metropolitan Museum in New York has been dismantled, that of the Musée des Monuments Français in Paris has with great difficulty been rearranged to suit current tastes. Notwithstanding this limited rediscovery of architectural cast collections, they remain part of a past era in the ongoing history of architectural museums. While drawings and models have always been standard media for the representation of architecture — whether or not ever built — architectural casts seem to have become the preferred medium for architectural displays in museums during a period beginning in 1850. Indeed, until the development of photography and the democratization of foreign travel, they were the only way of collecting architectural and sculptural elements while preserving their originals in situ. Admittedly, the three-dimensional experience of full-sized architecture in the form of casts, or even of actual fragments of architecture, played a considerable part in earlier, idiosyncratic attempts to display architecture in museums, indeed as early as the late eighteenth century. Nevertheless, it was only from the mid-nineteenth century that they became the preferred medium for displaying architecture. The cult of ornament reached its climax in the years 1850–70, embodied, in the field of architecture, in the famous ‘battle of styles’ and in the doctrine of ‘progressive eclecticism’, and, in the applied arts, in attempts at reform, given a fresh impetus by the development of international exhibitions. It is not surprising, then, that the first debate about architectural cast museums should have been generated in the homeland of the Gothic Revival and of the Great Exhibition of 1851. For it was in London that this debate crystallized, specifically between the Architectural Museum founded in 1851 and the South Kensington Museum (now known as the Victoria and Albert Museum) created in 1857.

Russia’s relationship with nation is marred by contradictions that stem from its place in comparison to the West. Cultural nationalism in artistic production originated with the arrival of the Peredvizhniki [Wanderers] in the 1870s. Moscow merchant Pavel Tretyakov, in collecting Russian and European art, openly embraced a nation that encompassed Western ideas in conjunction with distinctly Russian themes. The unparalleled collecting of French modern art by Moscow merchants Sergei Shchukin and Ivan Morozov in the early 20th century continued this embrace. The nature of their collected paintings produced shockwaves in late tsarist and Soviet society and politics before being inculcated into Russian national identity in the 21st century. This article explores the life of Henri Matisse’s The Dance (1909), commissioned by Sergei Shchukin. It follows the work across time and regimes as it assumes pride of place in not only Russia’s national collections but also within its identity. Through a focus on the 2008 exhibition From Russia at the Royal Academy of Arts in London, this article examines Russia’s relations and protection of this work to understand, why even as the country seeks to define itself once more actively through its opposition to the West, their cultural diplomacy speaks to an openness built on a transnational history of the most prized works in their national collections.

The second half of the nineteenth century was a period of rapid change in the natural sciences in Britain, reflecting changes in social conditions and improvements in education. A growing number of naturalists were becoming socially conscious and aware of the need for a proper study of the sea and its products, following the success of the ‘Challenger’ Expedition of 1872–6. In 1866 the Royal Commission on the Sea Fisheries, which included among its officers Professor T. H. Huxley, one of the new breed of professional scientists, had reported that fears of over-exploitation of the sea-fisheries were unfounded, and had recommended doing away with existing laws regulating fishing grounds and closed seasons. Nevertheless, the rising trade in fresh fish carried to towns by rail or by fast boats (fleeting), and the consequent increase in size and number of registered fishing vessels, was causing widespread concern, and there were reports from all round the coasts about the scarcity of particular fish, especially soles. This concern was expressed at the International Fisheries Exhibition in London in 1883, a conference called to discuss the commercial and scientific aspects of the fishing industry, attended by many active and first-rank scientists. However, in his opening address Professor Huxley discounted reports of scarcity of fish, and repeated the views of the Royal Commission of 1866: that, with existing methods of fishing, it was inconceivable that the great sea fisheries, such as those for cod, herring and mackerel, could ever be exhausted.

Abstract: Textiles, Trade & Taste: Portugal and the World (TTT) is a project that aspires to bring new synergies to the field of textile studies by promoting different connections and interdisciplinary approaches involving art history, materials science, and conservation. The TTT research network is based at the Center for Humanities in the School of Social Sciences and Humanities at the Universidade NOVA de Lisboa and organizes workshops, conferences, tours, and lectures in museums and research institutions. The network’s artistic and historical research has ranged from collating archival material to stylistic and iconographic studies, with the aim of placing textile objects in their historical, artistic, technological, and sociocultural contexts. Chemical analysis and characterization of dyes, textile fibers, and precious metal threads have provided important evidence for identifying the origins of raw materials and finished textiles, and for developing improved conservation treatments for their preservation for future generations. Recent research has examined the global circulation of dyes in the early modern period, especially reds, and also reconstructed the production and consumption of Indian, Chinese, and Portuguese embroideries and Islamic carpets. In 2011, TTT’s work led to the classification of three “Salting” carpets as national treasures in Portugal. The team members have collaborated with national and international museums, including Museu Nacional de Arte Antiga and Calouste Gulbenkian Museum (Lisbon), as well as Abegg-Stiftung (Riggisberg), The Metropolitan Museum of Art (New York), Musée des Tissus, (Lyon), Museum für Islamische Kunst (Berlin), Museum für angewandte Kunst (MAK) (Vienna), Rietberg Museum (Zürich), Rijksmuseum (Amsterdam), George Washington University Museum and The Textile Museum (Washington, D.C.), National Gallery of Art (Washington, D.C.), and Victoria and Albert Museum (London). The team’s art historians contributed to the platform “Museum With No Frontiers” to develop the online exhibition Discover Carpet Art involving Portuguese museums. TTT’s scientists have strong links with the Freer Gallery of Art and Arthur M. Sackler Gallery (National Museum of Asian Art, Washington, D.C.), University of Zaragoza (Spain), Rijksdienst voor het Cultureel Erfgoed (Cultural Heritage Agency of the Netherlands, Amersfoort), and the University of Amsterdam. We have been encouraged by the positive response of the international community to the results of our initial research projects.

Abstract Nineteenth-century international exhibitions were monumental attempts to represent modernity, ‘progress’ and ‘invention’ through displays of material objects. In materially illustrating a narrative of cultural ‘progress’, these exhibitions sometimes engaged vividly with the past, incorporating displays of historical objects shown in striking contrast to the new manufactures that were their core focus. This article examines musical displays at exhibitions held in London in 1885 and Edinburgh in 1890, where large exhibits of ‘ancient’ musical instruments, scores and related objects were presented. I argue that the display of ‘ancient’ instruments and objects, in blatant contrast to the exhibitions’ theme of modern invention, demonstrates a conceptual breach between past and present, examination of which can reveal larger trends in the late 19th-century’s ambivalent relationship with the past.

Ever since its discovery in 1999, the Nebra Sky Disc has been one of the best-known and most debated European Bronze Age archaeological artefacts. In 2021–2022 it was particularly in the public spotlight due to two jointly organised international exhibitions, one at the State Museum of Prehistory Halle (Saale), Germany and then one at the British Museum in London. In view of the renewed public interest in the disc that these exhibitions have awakened, this article reviews research relating to the artefact and its interpretation, with particular consideration of supposed links with Bronze Age sky lore promoted by the exhibitions and their accompanying literature.

Through a case study of Birmingham fire brigade, this article examines the plethora of international networking activities undertaken during the late Victorian and early Edwardian period. Birmingham fire brigade, under the control of Alfred Tozer, led British municipal participation in early international fire networks, attending international congresses and exhibitions in Berlin and London, and also visiting continental cities to inspect fire brigades and their appliances. Locating the study firmly within historical debates concerning the embryonic international municipal movement, this article demonstrates that municipal institutions participated in networking activities as part of a policy learning and knowledge-transfer process.

The Young Naturalist by Henry Weekes (1807–77) was first presented in plaster at the Royal Academy of Arts in 1854. Beginning as an object located firmly in the domain of the fine arts through its modes of production and sites of display, the sculpture encountered industry through a series of international exhibitions in Paris, London and Manchester during the 1850s and 1860s. Not only was the work in proximity to industrial objects, processes and collectors, it was fundamentally transformed by them, resulting in a collaboration between Weekes and the Birmingham-based manufacturer Elkington & Co. This article charts the changing status of sculpture and labour in the second half of the nineteenth century, with its increasing visibility and availability to new markets through both emerging and established technologies of reproduction.

Women Mean Business: Colonial businesswomen in New Zealand, Catherine Bishop. Dunedin: Otago University Press, 2019.Imagining Decolonisation, Rebecca Kiddle with Bianca Elkington, Moana Jackson, Ocean Ripeka Mercier, Mike Ross, Jennie Smeaton, and Amanda Thomas, eds. Wellington: Bridget Williams Books, 2020.Cosmopolitan Ambassadors: International Exhibitions, Cultural Diplomacy and the Polycentral Museum, Lee Davidson and Leticia Pérez Castellanos. Wilmington, DE: Vernon Press, 2019.Museums, International Exhibitions and China’s Cultural Diplomacy, Linda Da Kong. London: Routledge, 2021.Curating (Post-)Socialist Environments, Philipp Schorch and Daniel Habit. Bielefeld: Transcript Verlag, 2021.A Cultural Arsenal for Democracy: The World War II Work of US Museums, Clarissa J. Ceglio. Boston: University of Massachusetts Press, 2022.Mobile Museums: Collections in Circulation, Felix Driver, Mark Nesbitt, and Caroline Cornish, eds. London: UCL Press, 2021.Écrire la muséologie: Méthodes de recherche, rédaction, communication [Writing museology, Research methods, writing, communication], François Mairesse and Fabien Van Geert. Paris: Presses Sorbonne Nouvelle Ed, 2021.Cultural Renewal in Cambodia: Academic Activism in the Neoliberal Era, Philippe Peycam. Leiden: Brill, 2020.Animal Classification in Central China: From the late Neolithic to the early Bronze Age, Ningning Dong. Oxford: BAR Publishing, 2021.

This article, written by JPT Technology Editor Judy Feder, contains highlights of paper SPE 200560, “CO2-EOR and Storage Potentials in Depleted Reservoirs in the Norwegian Continental Shelf,” by Elhans Imanovs, SPE, and Samuel Krevor, SPE, Imperial College London, and Ali Mojaddam Zadeh, Equinor, prepared for the 2020 SPE Europec featured at the 82nd EAGE Conference and Exhibition, originally scheduled to be held in Amsterdam, 8–11 June. The paper has not been peer reviewed. A combination of carbon dioxide (CO2) enhanced oil recovery (EOR) and storage schemes could offer an opportunity to produce additional oil from depleted reservoirs and permanently store CO2 in the subsurface in an economically efficient manner. The complete paper evaluates the effect of different injection methods on oil recovery and CO2 storage potential in a depleted sandstone reservoir in the Norwegian Continental Shelf (NCS). The methods include continuous gas injection (CGI), continuous water injection (CWI), water alternating gas (WAG), tapered WAG (TWAG), simultaneous water above gas coinjection (SWGCO), simultaneous water and gas injection (SWGI), and cyclic SWGI. CO2 EOR and Storage in the NCS In recent years, the number of newly explored fields in the NCS has decreased. Approximately 47% of total resources in the NCS have been produced, and approximately 20% of resources are estimated as recoverable reserves. To fill in the gap between energy demand and recoverable reserves, EOR methods could be employed. One of the most efficient EOR methods is CO2 injection, because complete microscopic sweep efficiency can be achieved, leading to a total depletion of the reservoir. The three major types of CO2 EOR processes—miscible, near-miscible, and immiscible—are described and discussed in the full paper. Four primary CO2-trapping mechanisms are used in the subsurface: structural/stratigraphic, solubility, residual, and mineral trapping. The main locations for underground geological storage are depleted oil and gas reservoirs, coal formations, and saline aquifers. Currently, underground CO2 storage is believed to be a major technology to dramatically reduce CO2 amounts in the atmosphere. According to the International Energy Agency, 54 major oil basins around the world have the potential to produce 75 Bsm3 of additional oil and store 140 Gt of CO2. CO2 EOR and storage projects in the NCS could have several benefits. First, surface and subsea facility availability in the NCS region reduces capital expenditures. Second, in addition to the revenue from extra oil production, carbon credits could be awarded for the CO2 storage. The main challenges of CO2 EOR and storage offshore projects are high operational and capital expenditures. In depleted reservoirs, these include modification of offshore platform materials; additional power supply for CO2 compression and recycling; and replacement of the tubing because wet CO2 is highly corrosive, resulting in scale, asphaltene, and hydrates formation. Contamination of a gas cap with injected CO2 might lead to loss of hydrocarbon gas market value. Only one CO2 EOR project has been implemented offshore—the Lula field in Brazil’s Santos Basin—meaning that industry has very limited experience in such projects.

Following examples such as The Arctic and the British Imagination by David and Imagining the Arctic by Lewis-Jones this work focuses on the changing interpretations of the idea of the Arctic as it follows the interpretation of a taxidermied polar bear over approximately sixty years in three different exhibitions. Beginning in the 1880s this polar bear represented the resources available in the Arctic at international exhibitions. When the polar bear entered the Horniman Free Museum (London) in 1890 the interpretation changed to represent the wildlife of the Arctic in an “Arctic Scene”. Finally, in the twentieth century, the polar bear’s interpretation changed again to stress the evolutionary differences between large mammals, specifically those of the Arctic. Although the museum sold the polar bear in 1948, the analysis of this object in these institutions presents a model for understanding the construction and colonial interpretations of the Arctic in the late nineteenth and early twentieth centuries.

Ellis Rowan was Australia's most celebrated flower painter of the late nineteenth and early twentieth centuries. An emancipated woman far ahead of her time, she turned what her fellow Australian artists deemed a ‘genteel’ female pastime of flower painting into an adventurous and profitable career which took her all over the world. In a career spanning fifty years and ending with her death in 1922, she produced the phenomenal number of more than 3000 paintings, and succeeded in placing many of these in public collections. Rowan exhibited her work as far afield as London and New York and achieved acclaim at intercolonial and international exhibitions of art and industry (with the award of ten gold, fifteen silver and four bronze medals). Also a skilled writer and publicist, she recounted her travels in the popular press and in a book entitled A Flower-Hunter in Queensland and New Zealand, published in 1898. This paper focuses on the artist's work in Queensland, a favourite hunting ground, and on her association with the tropics which was an essential part of her mystique.

It has been argued that “the history of New Zealand is unique because the period of pioneer colonization closely coincided with the invention and development of photography”1. However, as the first successfully recorded photograph in the country was not made until the late 1840s, the widespread use of photography came after the initial European settlement and its influence coincided more closely with the development of early tourism and with the exploration and later promotion of the country’s wild and remote places. The photographic partnership of William Hart and Charles Campbell followed the path of the gold miners into the hinterland of the South Island aware of its potential commercial photographic value. Photographers understood the “great public interest in what the colony looked like and inthe potential for features that would command international attention”2. Photography was promoted as presenting the world as it was, free of the interpretation of the artist. By the early 1880s the Hart, Campbell portfolio was extensive and their work featured at exhibitions in London, Sydney and Melbourne. Yet their photographs were criticised for fakery and William Hart’s photograph of Sutherland Falls, ‘the world’s highest waterfall’, promoted a quite inaccurate claim.

In 1921 in London, was created by the International Society of Medical Hydrology, which included scientificsocieties of scientists from over 40 countries, in 1928 they were joined by scientists of the Soviet Union. In 1937 wasorganized by the International Federation of the health resort, which in 1947, renamed the "International Federation ofHydrotherapy and Climatology (FITEC). In 1999, Congress in Yalta, it was called "The World Federation ofHydrotherapy and Climatotherapy (FEMTEC). FEMTEC is the most representative association of Spa and healthorganizations in the world. FEMTEC composed of national Spa and health resorts associations and federations, as wellas central state organizations dealing with Spa problems from many countries and continents. FEMTEC functions underthe aegis of the World Health Organization and submits every three years report on its activities. The principal functionsof the Federation are following: representing world thermalism matters and promote them internationally before statesand public organization; international business-like co-operation in health resorts' sector; study, research and experienceexchanges in the sphere of Spa treatments; popularization of Spa and health resorts of the FEMTEC member-countriesin different countries of the world. With a view of organizing fruitful activities of FEMTEC there function 4 permanentcommissions: medical, economic, technical and social. FEMTEC members actively participate in international scientificsymposia, exhibitions, conferences; there are held annual General Assembly, Executive Board and ExecutiveCommittee meetings. Every year FEMTEC organizes Scientific Congress along with a competition of scientific works,marks of the best thermalists etc. The Federation maintains close contacts with European Spas Association (ESPA),World Tourism Organization (WTO) and other international organizations. The Board of FEMTEC includes thefollowing member: Prof. Nikolay Storozhenko - (Russia) President of FEMTEC from 1998, President National SpaAssociation D.M., Honored Physician (http://www.naturmed.unimi.it/femtec.html). In 1996 he joined the Federation ofRussia, which was timed to the International Congress "The resort medicine, science and practice", held in May 1996 inSt. Petersburg. In 1998 the Federation adopted the Ukrainian Association of Physiotherapists and health resort. One ofthe main problems is FEMTEC: cooperation of scientific institutions, exchange of information in the study oftechnological and scientific problems associated with water-and climate-through scientific committees, convening theannual congresses, conferences, symposia, seminars, publications, etc.

The thematic scope of the work focuses on the rise of the Fiala family from Kragujevac, leather industrialists, with a broader perimeter of the overall economic development of the Kingdom of Serbia after the Berlin Congress. At the same time, it emphasizes the industrial rise as the cornerstone of the overall economic and social flywheel of the youngest member of the European family of states at the time. The emergence of commercial and economic patriotism at the global level of the epoch, dispossessing the previous classical, historical, cultural, and military- political, is specially reviewed in this paper. How did Serbia, newly restored and with recent independence, navigate through the habitus of a different context that imposed a sophisticated technical and qualitative natural product as the most meaningful lever for establishing and elevating national identity?The international exhibitions unmistakably indicate that Serbia, in the period after the Berlin Congress and until before the Balkan Wars, independently took part and achieved a series of successes. Serbia won medals, awards, and diplomas, in segments concerning total economic production. That was why the world exhibitions in Paris, London, and Turin from 1889 to 1911, were most in focus. In that epoche, the industry represented the backbone of the economy in the leading part of the world. The industrialization of Serbia was presented through the rise of the Fiala family and their leather factory in Kragujevac and their participation in non-world fairs also. The entrepreneurial family originated from the most significant Serbian industrial city, where the industry started by relocating the Topolivnica from Belgrade in 1851. The story of the Fiala family is the story of how Serbia, a primarily agricultural country and even lagging in that segment, nevertheless was catching up with the most developed countries in the world.

The purpose of the article is to study the international cooperation of agricultural societies and its impact on the modernization of Ukrainian provinces. The author used comparative, chronological, problem and analytical research methods. On the basis of archival documents and the press of that time the author described and systematized new materials about the international activity of agricultural societies of the Ukrainian provinces. The author proves that it took various forms and contributed to the borrowing of useful foreign experience. It was found that international activities had developed from personal ties to mutual cooperation. The public’s tasks include holding numerous events. The author reconstructs the process of participation of members of agricultural organizations in various international events, including exhibitions. It was emphasized that these contacts were of mutual interest. They provided an opportunity for members of voluntary associations to learn from foreign experience. It is important that the experience was taken consciously. Considerable attention is paid to the initiatives of individuals – members of agricultural societies. The trips contributed to positive changes in society and the modernization of the region in general. The article examines the issue of conducting tours, practices for local landowners abroad by agricultural associations. The expediency of such forms of cooperation was realized by members of agricultural societies. The public understood the need for change. We drew attention to a wide range of countries with which representatives of agricultural societies cooperated. The public of the Ukrainian provinces was interested in foreign governmental and public institutions in the field of agriculture. There was a search for new forms of work, among which is the creation of the socalled American agency. Foreign relations of Volyn hop growers should be called indicative. The joint work of representatives of the Volyn Hop Society was carried out together with government experts, foreign partners, including Ukrainian cooperatives in London. The initiative of agrarian public organizations received government assistance, and export chambers were established. Agricultural societies became their active participants and co-founders. It is concluded that the adoption of foreign experience and contacts with foreign organizations and professionals have contributed to qualitative changes in society.

The author is Professor of History of Modern Architecture at the Faculty of Architecture, University of Belgrade, received his M.Sc in architecture and town-planning in Belgrade and at the Athens Center of Ekistics, Athens, Greece, and his Ph. D at the Faculty of Architecture, University of Belgrade. He is the author of many books including Computer Atlas of Belgrade (Belgrade, 1976, second edition in Serbian and English as Research into the Urban Structure of Belgrade, Belgrade, 2002), Lessons of the Past (Belgrade, 1985), four volumes on the history of modern architecture in the world 1750 to present, Serbian 20th Century Architecture: From Historicisim to Second Modernism (Belgrade, 2003), and numerous articles published in scientific and professional journals. He has had one-man exhibitions of his experimental town-planning projects in Ljubljana (1977), Zagreb(1978), Belgrade (1978), Paris (1981), Dublin (1981), and at the Gallery of the Royal Institute of British Architects in London (1986). He has lectured at New York University, the Institute of Fine Arts (New York), Princeton University, Columbia University (New York), Ohio State University (Columbus), Athens Center of Ekistics, University of Cambridge (UK), and the Royal Institute of British Architects. The text that follows was one of several interviews of Dr Perovió with selected participants in the Delos Symposia (international meetings on boardship organized by the Athens Center of Ekistics, 1963-1972) first published in the journal Sinteza (Ljubljana) and later in a separate book entitled Dialogues with the Delians in both Serbian and English, Ljublijana, 1978.

BackgroundThe experience of art offers an emerging field in healthcare staff development, much of which is appropriate to the practice of palliative care. The workings of aesthetic learning interventions such as interactive theatre in relation to palliative and end of-life care staff development programmes are widely uncharted.AimTo investigate the use of aesthetic learning interventions used in palliative and end-of-life care staff development programmes.DesignScoping review.Data sourcesPublished literature from 1997 to 2015, MEDLINE, CINAHL and Applied Social Sciences Index and Abstracts, key journals and citation tracking.ResultsThe review included 138 studies containing 60 types of art. Studies explored palliative care scenarios from a safe distance. Learning from art as experience involved the amalgamation of action, emotion and meaning. Art forms were used to transport healthcare professionals into an aesthetic learning experience that could be reflected in the lived experience of healthcare practice. The proposed learning included the development of practical and technical skills; empathy and compassion; awareness of self; awareness of others and the wider narrative of illness; and personal development.ConclusionAesthetic learning interventions might be helpful in the delivery of palliative care staff development programmes by offering another dimension to the learning experience. As researchers continue to find solutions to understanding the efficacy of such interventions, we argue that evaluating the contextual factors, including the interplay between the experience of the programme and its impact on the healthcare professional, will help identify how the programmes work and thus how they can contribute to improvements in palliative care.References. 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