dieser beitrag wurde verfasst in: englisch (eng/en)
verfasserin/verfasser: Karen A. Fiss (Hg.), Robert H. Kargon (Hg.), Morris Low (Hg.), Arthur P. Molella (Hg.)
titel: World's Fairs on the Eve of the War. Science, Technology & Modernity 1937–1942
+: Pittsburg PA 2015
«Paul Greenhalgh points out that 'throughout the nineteenth and twentieth centuries, [world's fairs] were the only events capable of bringing such a wide selection of people to the same place for the purpose of edification and entertainment. They were intended to distract, indoctrinate and unify a population. Thus, along with radio, cinema, print media, monumental architecture, staged public events, and elaborate funerals of public figures, world's fairs and international expositions were to play a major role in defining and displaying the various national versions of modernity.» (p. 3)
«From the start the organizing committee of the [Paris 1937] fair, the Superior Council, had a substantial representation of artists, especially the decorative arts and including representatives of the Union corporative de l'art français. Moreover, whether as an act of repaying a political debt or of carrying out its core beliefs, the Blum government incorporated modern art into the scientific and technical pavilions and celebrated modern modes of communication, transportation, and production.» (p. 16)
«[Italian] Rationalism harked back to the Italian futurists, proponents ot the avant-garte art movement launched in 1919 by the poet F[ilippo] T[ommaso] Marinetti. Enthusiastically embracing Fascism and its culture of violence, they identified themselves with modern science and Machine Age technologies, most famously with aviation. Futurism remained a vital intellectual current within Fascism.» (Kargon et al. 2015, p. 119)