An article by CRAACE research fellow Marta Filipová, ‘“Highly Civilized, yet Very Simple”: Images of the Czechoslovak State and Nation at Interwar World’s Fairs,‘ has just been published in the journal Nationalities Papers.
CALL FOR PAPERS
Exhibitions, new nations and the human factor, 1873–1939
CRAACE symposium, 4–5 April 2022
Institut national d’histoire de l’art, Paris
Keynote speaker: Professor Mary Pepchinski, Technical University Dresden
It is widely recognised that new political entities that came to existence as nation states from the end of the nineteenth century sought to legitimise their identities externally through participation at world’s fairs and internally through consolidation of their national collections in museums and galleries of art and design. While the official motivations and presentations have been examined quite thoroughly, the agency of many individuals involved in different stages of exhibition design has been overlooked.
This symposium aims to explore the relations – including discrepancies – between the official narratives of exhibitions, as devised by the organisers, and the narratives by individuals whose participation helped to construct the meaning and content of the exhibits. By this, the discussion moves away from the focus on the state apparatus and official ideologies towards the people who designed the national presentations, worked in them and visited them. Our main focus is on how exhibitions were used to consolidate new political identities. The period covered by the symposium begins with the Vienna World Fair of 1873 and concludes with the outbreak of the Second World War. It saw important changes in political and geographical circumstances globally, with the creation and recreation of, for instance, Romania, Turkey, Egypt, Czechoslovakia, Austria and Hungary.
The first CRAACE conference, ‘In the Shadow of the Habsburg Empire? Art and Architecture in Interwar Central Europe’, took place in the Moravian Gallery, Brno, from 12 to 14 September 2019. With three keynote speakers, five sessions and fifteen papers, the event explored the topic of continuities and ruptures in post-Habsburg Central European art history from several angles, sparking many engaging discussions. This brief report below can only highlight a few of the wider topics that emerged in the course of the three days. (The conference programme can be accessed here.)