from Neue Zürcher Zeitung, third 2. 2011
By Bernhard Dotzler • The company "Expo" was designed to start to go into production. Therefore, none of the world fairs that took place since the first in London (1851), uniqueness claim. But each has its own peculiarities, and the Paris World Expo can be considered as a pacesetter in terms of design and the shape of the event. The World Exposition in London world premiere was called "The Great Exhibition of the Works of Industry of All Nations." She referred, then, the idea to already all over the world a limited, but the products of the respective commercial diligence.
1855 in Paris earned the effort the first time the name of an "Exposition universelle", by addition to the "produits de l 'agriculture' and 'de l'industrie », the« beaux-arts "taken into account. In London, the Crystal Palace had been talked about. were in Paris at the exhibition site of the Industrial Palace, a private, sensational elongated machine hall and a palace the fine arts. Gustave Courbet caused a scandal when he to the exclusion of his works from the hallowed halls of the palace with the establishment of a separate "Pavillon du réalisme" responded. The same happened to later Manet and Gauguin, which in turn attracted similar secessionist consequences.
Paris With the second Expo, 1867, the Fourth World exhibition as a whole, established in their design as an amusement park with country pavilions; 1878 and 1889 came the "Rue des Nations" and the "Rue de Caire "a success of their imitation in retrospect, almost appear to be inevitable. The "Road to Cairo" 1893 was again at the Columbian World's Fair in Chicago set up as exotic entertainment district lined with cafes, dance halls and other spectacles. - She was, writes Beat Wyss, "the incunabula of the Shopping Mall" and be understood in its multi-cultural outfit as "a synonym for Global Village." called
This remark again, as it contains the whole book in a nutshell, the Wyss Expo 1889 and dedicated to "Images of the globalization." The World Exposition is the art historian as a first expression of mass media attention steering. With ever new record, the former World's Fairs, in fact, unprecedented crowds. With them, it means that mass tourism has taken its beginning, they were indisputably both a consequence and contributor to the 19th Century rapidly escalating world traffic.
Even before the first World Exhibition identified Karl Marx, the process of globalization: "The bourgeoisie has through the exploitation of the world market, the production and consumption in every country a cosmopolitan character. It has drawn the great chagrin of reactionaries of industry the national ground under their feet. "The world itself shows him first, this could only yet most beautifully illustrate how they gave him the second lesson in the latest mechanical achievements, in line with the official definition of the Bureau International des Expositions, "A World's Fair is [. . .] An inventory of all the human resources available to meet the needs of a civilization, and, in one or more areas out of human endeavor made progress or where future prospects dar. »
All in all, accordingly, the historical treatment of the history of World Expo on the technical Progress concentrated than the celebration is still projecting itself every Expo: Paris 1867, and the aniline dyes, Philadelphia 1876, and the typewriter, Paris 1889 and the phonograph, Chicago 1893 and the Ferris wheel. . . Beat Wyss on the other hand is interested in art and media history in passing. As far as he mentions it, it moves also to be more compliant associative. Because you are in the "armchair roulant" as comfortable as in a rush to the site of the exhibition could be pushed, is to "zap the need in the armchair by the whole world," in Paris in 1889, long "before the television was invented," have been discovered. (The TV was in the way of a mechanical model already been invented, Paul Nipkow had patented the idea 1885th)
more persuasive, the book develops at the level of his art and his mentality argument. The source, along the Wyss writes, is the official "Expo Magazine", which not only supplied the public at that time with reports and pictures, but now also helps to look back at this major event to lush illustrations. The guidance of these images deciphered Wyss, "the World's Fair in 1889 as a historical model that sets the global interdependence of modern industrial culture scene," the "laboratory of globalization, one Preview of our post-modern world designs, "" as "the venue of two types of competition, of that" the progress of industrial standardization on a global scale "and of that" to regional cultural identity.
so taken with the motion to grant as the architectural styles of the Latin American Pavilion, the paradoxical realization that of all the decolonization of Latin America the "liberal Raubpragmatismus "of the colonial powers to the final victory helped. Or Take the image from the cafe at the Egyptien said "Road to Cairo": Alme Aiousché dancing. The ban, proposed in the sight of her, "orientalized" the Orient as the West alike, says Beat Wyss and calls, as a secondary source, even the great Edmond de Goncourt to the witness stand. For the technophilia the crowd had nothing left but this contempt. And yet, he moved himself repeatedly in the Exhibition Park - the joy of belly dancing, he confided to his diary.
Beat Wyss: Images of the globalization. The World Exhibition of Paris 1889th Island Press, Berlin 2010. 285 pages, CHF 70.90.
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