World fair of the art nations_The Biennale Project

World fair of the art nationsThe Biennale Project

Folie 2 / Zürich, 09.12.2008 / © SIK-ISEA

Beat Wyss


*Plan of the national pavilions 1995


*Plan of the national pavilions 1934 * Plan of the national pavilions 1942


*Adolf Hitler`s visit of the Venice Biennale 1934

*The British pavilion, seized by the Italian army during the Biennale 1942


*The Belgian pavilion, 1907, by Léon Sneyers

*The Hungarian pavilion, 1909, by Géza Rintel Mároti

*The dutch pavilion, 1912, by Gustav Ferdinand Boberg


*Sovjet pavilion 1934: interior with the portrait of Trotzky, by G. Annenkow *Lenin in Smolsky, by Isaak Brodsky

*Peasant woman, by Wera Muchina


*The artists of the Yugoslav pavilion, Biennale 1999


*Thomas Hirschhorn at the Artiglierie, Biennale 1999


*The Venice Biennale pavilion, 1895 *Exhibition hall with Giacomo Grosso’s: Supremo convegno

1. A provincial campain in favour of local tourism: 1895-1907


*The Klimt exhibition at the 1910 Biennale

2. Cultural cabinet policy of Old Europe: 1907-1922


*Interior of the Aeropittura exhibition, Biennale 1940

3. An affair of avant-garde and fascism, and the totalitarian state’s new media: 1924-1942


*Swiss pavilion, by Bruno Giacometti, 1952

*Swiss pavilion, 1935, Exposition Universelle et Internationale de Bruxelles

4. Restitution, Classic modernism in retrospect: 1948-1962


*Ann Hamilton’s installation at the American pavilion, Biennale 1999

5. Political crisis and change: 1964-1974


*Biennale 1968, report by Stern

5. Political crisis and change: 1964-1974


*Mimmo Paladino, Italian Pavilion, 1988

6. Approach to the contemporary, and the scroll of the block system: 1976 – 1990


*Nelson Leirner at the Brasilian pavilion, Biennale 1999

9. The process of créolisation: 1990-2009


*Wang Xingwei: Poor old Hamilton, 1996


Second: Questions and hypothesis


*Columbian World Fair Chicago, 1893


*Huang Yong Ping at the French pavilion, Biennale 1999


*Louisiana Purchase Exhibition, St. Louis, 1904: Cass Gilberts Festival Hall, by E.L. Masqueray,


*L’ Exposition Universelle de Paris 1900, frontispiece

“Identität ist die Identität der Identität mit dem Nichtidentischen“ Georg Friedrich Hegel

The dialectical motion of globalization consists in the effect that a consciousness for cultural differences emerges just by industrial homogenization.

That way, homogenization corresponds with identification: that levelling by appropriation, that use of force, by which the “non-equal” appears.

So, the non-identical is fabricated by the process of identification.

Identity is equal to non-identity, as it becomes identic with nothing else than with itself by identification.



*L’ Exposition Universelle de Paris 1900, frontispiece


*Exposition Universelle de Paris 1900, entrance to the palace of the humanities, the sciences, and the arts *first row of foreign pavilions along the Seine


*Ars Libera: Performance at the Biennale opening, 1895


*Press conference hall at the Biennale 1903

*Torino, Esposizione d’Arte Decorativa Moderna, 1902: dining room, by Joseph Olbrich *Interior of the Hamburg vestibule, by Peter Behrens


*Exposition Internationale des Arts et des Techniques appliqués à la Vie Moderne, 1937: Soviet Pavilion, by Boris Iofan, sculpture on its top by Mukhina *The New Trocadéro and the exhibition site *The German pavilion, by Albert Speer, sculpture by Arno Breker


*Exposiciòn General d’España, Barcelona and Sevilla, 1929-1930:German Pavilion, by Mies van der Rohe

*Italian pavilion


*Marina Abramovic: Balcan Baroque, Video performance (1997), Biennale 1999


*Chen Zhen at the Artiglierie, Biennale 1999

*Chen Zhen at the Artiglierie, Biennale 1999*Chen Zhen at the Artiglierie, Biennale 1999


*George Adéagbo at the Campo dell’ Arsenale, Biennale 1999


*Hung Tung-Lu at the Taiwan pavilion, Biennale 1999


*Wang Xingwei: Poor old Hamilton, 1996


Documents

World fair of the art nations_The Biennale Project