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This article analyses how Gorgonzola cheese achieved widespread success among the upper and middle classes in continental Europe, the British Isles, and North America between the 1850s and 1930s. Drawing on social history, the history of science and technology, and cultural history, the article highlights the important role played by hotels, restaurants, clubs, and ocean liners, on the one hand, and the circuit of industrial and agricultural exhibitions, on the other, in the nearly simultaneous growth in popularity of Gorgonzola among the upper and middle classes. Joining the consolidated historiographical and sociological vein that examines the interplay among class, food, and social capital, the novel analysis of documents such as newspaper articles, restaurant menus, literary sources, and exhibition catalogues offers a new perspective on the unique Gorgonzola phenomenon. [ABSTRACT FROM AUTHOR]

Il contributo focalizza l’attenzione sulle prime esperienze milanesi delle esposizioni d’arte e industria mettendo in rilievo quella del 1872 integrata con una Esposizione d’arte antica, quella del 1874 incentrata su una grande raccolta di arti applicate (Esposizione storica d’arte industriale) e, soprattutto, quella del 1895 (Esposizione eucaristica) precipuamente pensate per i cimeli d’arte sacra della Lombardia.

Il saggio intende rispondere a una domanda: esiste una differenza reale tra un’esposizione di oggetti d’arte di epoca medievale e una mostra sul “Medioevo”? Una analisi estesa su un numero statisticamente rilevante di iniziative espositive dell’ultimo quarto di secolo, che, stricto o latu sensu interessano il medioevo, fornisce alcuni spunti per una riflessione più vasta sulla percezione dell’età di mezzo che tali mostre possono contribuire a plasmare.

Il contributo consente di ripercorrere le principali esposizioni d’arte medievale proposte dalla seconda metà del XX secolo con focus privilegiato sulla questione del modello di racconto che si è voluto “esporre” e quindi sui presupposti ideologici. L’occasione è dunque ottimale per proporre il primo bilancio critico sulle mostre d’arte medievale organizzate dallo scrivente a Parma.

Le esposizioni pensate per lo spazio del web rappresentano un elemento fondamentale rispetto all'archivio, alla sua accessibilità e alla valorizzazione dei materiali. Questo articolo vuole affrontare il caso studio di MoRE museum, contestualizzandolo nel dibattito relativo alle mostre sul web.

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Elisabetta Modena interviews David Horvitz on his unrealized artworks and in particular on lessons (2021), a project made for the Nassauischer Kunstverein in Wiesbaden which changed due to the Covid-19 pandemic.

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In 1927 El Lisitskij makes his "second exhibition space" for the Landesmuseum in Hannover, the famous Kabinett der Abstrakten thanks to which Gropius wrote, "the visitor could contemplate and understand abstract paintings in a suitable architectural configuration". The installation - a work, an exhibition, a setting - was commissionated by the young director of the Landesmuseum, Alexander Dorner. He thought that art was a form of creativity and of creation similar to science and he chose to show in the museum rooms the cognitive meaning of artwork, firts of all its specific epistemological status. A critical perspective organically expressed in the essay The Way Beyond "Art" (1958), which Dorner had translated, since the twenties, in a revolutionary conception of museology, not based on the preservation and promotion of a single masterpiece and its aura, but rather based on reconstruction of cultural contexts (he invented the "atmosphere rooms") and education. The essay focuses on the complexity of Dorner’s theory about the museum, reconstructing the theoretical assumptions and highlighting the most heretical and innovative aspects - for example the use of the copies - which caused scandal and even censorship at the time. Dorner had an idea of a living museum, far away from the sacredness of the white cube imposed as a universal model by Moma. Today the Dorner’s idea is present in the debate about the new features of the museum and of exhibition practices of research, where the contribution of artists became increasingly important, as Dorner had early foreseen.

During World War II it was enhanced throughout Europe Axis a series of public events intended to contribute to hatred of certain social groups. In the wake of the Third Reich, Vichy France deployed throughout the country a series of exhibitions aimed at vilifying and dehumanizing to specific groups, as were the Jews, communists and freemasons. Exhibition was the case as La Franc maçonnerie dévoilée (1940), Le Juif et la France (1941) or Le Bolchevisme contre l’Europe (1942), the subject of our study. This article will delve into the techniques used in this propaganda of hate and literary fruits to which it gave rise. Enroll our research in the history of emotions, whose main drivers were Peter Burke, Barbara H. or William M. Reddy Rosenwein. We will draw hatred and fear as axes of our historical discourse and exploitation of both feelings made the authorities of New France to achieve the indoctrination of the population towards a particular ideology.

The large Luciana Tabarroni collection’s, consisting of nearly two thousand graphic works, was acquired by the National Pinacoteca of Bologna in 2002 and the following year starts the process of enhancement and exposure through a series of exhibitions, culminating in 2017 in the event titled Sixty /Eighty. The great European graphics at the Pinacoteca Nazionale di Bologna.The collection of about nine hundred works by European artists, made between 1960 and 1989, has allowed a systematic study based on through three decades of artistic proposals. In that period the graphics becomes for many artists an expressive way to be experimented together with several medium used in the Contemporary Art.

The International Exhibition of Furniture and Interior Design, held in Barcelona in 1923, not only had the furniture as documentary evidence of the uses, ways and means and ways of life. The show organizers also served to reconstruct the History of Spain and Catalonia from the Middle Ages to the XVIII century through the eight “rooms” that formed the Archival Section. Through this scenery we perceive the identity and values ​​of the cabinet anthropological and cultural “product” of societies, demonstrating a dramatic and theatrical sense that contrasts with the archaeological and rigorously “scientific” view of the past. From the Catalan perspective, the meaning of the exhibition took on a ‘nationalist’ meaning attached to the Spanish which was seconded by the organizers and reviled by critics, closer to independence secessionist.

The pavilions architecture had a specific logic, closely linked to exhibitions. The supremacy of Algerian vernacular styles reveals the desire to show exotic and folk places. If the Neo Classical, Art Nouveau and Art Déco were strongly present on the Algerian territory, they were rarely exhibited indeed. In regards to that, this colonial society including its cultural and architectural specifities remained ignored. These observations represent the main topic in this work.

This paper aims to analyse from a multi-perspective point of view the history and development of some “mega” and “hallmark” events, such as International Expositions and European Capitals of Culture. By placing them into the theoretical debate and observing some concrete examples, in this work we will suggest that the recent evolution of events in the context of city-marketing and territories competition has led to a progressive content depletion and to an increasing interconnection with urban regeneration. Typological differences are bluring: their specious character is predominant and has to be related to further parametres among which ritual dimension has not lost its peculiarity. Events have become a very strategy of municipalities and administrations, whose effects do not affect just a specific élite, but the whole community.

This paper examines the way in which the presence of an “italian product” confirms and spreads itself in international exhibitions of the second half of the nineteenth century, showing the national style in some specific specialized areas, particularly in luxury and craftsmanship. The analysis unfolds along two parallel directions: on one hand, the effective presence of Italian exhibitors from a quantitative point of view; on the other hand, the way in which the Italian products were represented in some significant cases on the international illustrated press.

Russia took part almost in all World Exhibitions of the second half of the 19th century. Starting with sections in the central exhibition hall, it gradually expanded its presence at exhibitions at the expense of separate thematic buildings and big national pavilions. The special design of Russian pavilions in their national style was created under the influence of visitors’ opinion. They propagated a false yet interesting and habitual European image of Russia, as the eastern and preindustrial country.

Universal Exhibitions have been conceived specifically by the Western society in the second half of the XIX century. As a mirror of the second industrial revolution, which also reflected the soul of a new world held together by pioneering telegraph networks, they can actually be seen as “maps of perception” that broke with the past and formed a sort of wells ring of what was yet to come. The “great exhibition cycle”, the circuit of international events that followed with some frequency, with the exception of the period immediately following the First World War, is certainly one of those privileged perspective’s corners from which to observe social, cultural, urban and anthropological phenomena with a huge impact on European history.

The political crackdown during the 20th Century finds in the International Events a special place for the hosting Countries to spread their ideologies to the visitors and to all the other Countries attending the event. National Pavilions become the subject of propaganda, and their architectural language became an important part of the collective identity’s reclaimed logic, even if it wasn’t always real. Paris International Exposition of 1937 is a paradigmatic case: it’s a mirror of that time and of the prewar period’s international tensions. Born under the auspices of peace, it finally results the most relevant expression of the relation between Power and Architecture.

Despite its origin can be traced since ancient times, the Atrocity Propaganda became especially relevant as the pivotal theme of the discourses aimed to justify the extreme violence against the “other” during the major conflicts of the Twentieth Century. Few States were as skilled as the Nazi Regime to take advantage of the potential of Art to be the backbone of the process of violent socialization of its citizenship. The power of the image to show a degraded image of the enemy which, in turn, strengthened the validity of the addresser’s arguments is openly revealed at the exhibition Das Sowjetparadies held in Berlin in 1942. In this paper, we analyze the Exhibition contents and reflect on the importance of this type of actions to disseminate an anti-Communist and anti-Semitic discourse.

This article provides a brief introduction to Brown University's Virtual Humanities Lab (VHL)'s major new project: the electronic Esposizioni. The Esposizioni, like other texts available on Brown University's Decameron Web, is a major vernacular work by Boccaccio, and is the text of his unfinished lecture series on Dante's Commedia. The electronic Esposizioni project is fundamentally concerned with the definition of the relationship between two canonical medieval authors, Dante and Boccaccio, as expressed through the primary (commented) text and the secondary (commentary) text.The first part of the article provides an overview of the historical and literary contexts of Boccaccio's commentary on Dante. A great demand for explication and analysis of Dante's poem sprang up in Italy immediately after Dante's death in 1321, and Boccaccio's Esposizioni forms part of this tradition. However, unlike other Dante commentaries, the Esposizioni was not written with the intention of becoming a published book: it is instead the notes for the public lectures on Dante which Boccaccio gave in Florence in 1373-74. The oral intention and nature of this text is one of the elements upon which the electronic Esposizioni project focuses. One of the major benefits of the electronic medium is that we are able to distance the text from the material format of the bound book, which fixes the oral text as a canonical and immutable object.The second part of the article provides further information about how humanities computing has developed in the Italian Studies Department at Brown. Following a major grant from the National Endowment for the Humanities (NEH), the famous Decameron Web now forms part of the VHL, which has a dual role: to provide information about the civic, literary, and intellectual culture of Early Modern Italy to a broad audience of students and specialists alike; and to develop a variety of electronic tools for collaborative teaching and research. This section also considers the potential audience for the electronic Esposizioni project within the popular field of Dante studies, and compares the project to the already-established Dartmouth Dante Project, which is also concerned with Dante commentary.The final section of the paper presents the electronic edition of the Esposizioni, with a technical description of the commented and commentary texts, a discussion of the structural and semantic encoding principles, and some examples of the encoding in practice. Due to its nature as a hybrid medieval text, of which no autograph manuscript survives, Boccaccio's Esposizioni inevitably contains uncertainties. Rather then try to create a definitive online edition, we are thus constructing a Virtual Editing House which will allow scholars with privileged access the opportunity to comment and add their own annotations to the work. The project thus does not only present the commentary and commented text together for the first time in the digital medium, but will allow the creation of a new and ongoing commentary to Dante's poem.