Offres de stage - Programme d'hiver
On the occasion of International Museum Day on 18 May, and coinciding with the 10th anniversary of Expo 2010 Shanghai, the World Expo Museum (WEM) has released "See the world", a series of miniature-films recounting some of the most memorable World Expos in history.
Heralding the “World of Tomorrow”, World Expo 1939 New York introduced the public to a wide range of consumer goods, offering a modern new era of accessible comfort. Among these new products were nylon stockings, an innovative item of clothing that went on to revolutionise wardrobes and fashion.
In a world in which images and videos can be shared instantaneously to an unlimited audience, it is difficult to imagine how events were communicated and consumed by the public without modern technology. In the case of live television broadcasting, a major milestone was made with the first live address on the occasion of the opening ceremony of World Expo 1939 New York.
Time capsules, those repositories of artifacts concealed for the future, have a long association with Expos. A project in Seattle this year is inviting people to continue a capsule tradition at the Space Needle on the site of World Expo 1962 - Seattle’s Century 21 Exposition.
One of the fathers of modern architecture, a Pritzker Prize laureate and a key figure in the development of Brasilia, Oscar Niemeyer is in the spotlight for this week’s instalment of the Expo Architects A to Z.
Selected to design the pavilion of his home country, at World Expo 1939 New York, Niemeyer created a unique vision of “Brasilidade”, portraying the country’s modernity to an American audience while remaining committed to Brazil’s own identity.
Opening on 30 April 1939, New York’s World Expo 1939 promoted “Building the World of Tomorrow” in a period marked by the Great Depression and spectre of upcoming war. While many futuristic pavilions and displays enthralled visitors, one of the most outlandish was ‘The Dream of Venus’, a surrealist funhouse created by Salvador Dalí. On the occasion of the 80th anniversary of the Expo and the 30th anniversary of the artist’s death, Montse Aguer, the Director of the Dalí Museums, recounts how the pavilion transgressed the modernism of the Expo and explains the significance of this work to Dali’s personal vision.
Eighty years ago today, some seven months before the opening of Expo 1939 New York, a time capsule was buried in the middle of the Expo site. The instructions were clear: it was not to be dug up until the year 6939 – some 5,000 years later.
The bold time capsule project was an initiative of Westinghouse Electric & Manufacturing Company, with the aim of presenting a snapshot of the era while paying tribute to the Expo’s theme “The World of Tomorrow”. The electrical company aimed to immortalise life in the 1930s, based on the latest technologies and inventions of the era. By doing so, the highly publicised event was also familiarising people with the ‘modernity’ in which they lived.
Organised under the theme “World of Tomorrow”, Expo 1939 in New York celebrated the “Dawn of a New Day”, which was partly made possible by the electrification of the country. Increased access to safe and reliable energy in the first part of the 20th century lead to a wave of optimism and hope for a future shaped by technological prowess and societal changes.
In 1900, only around 2% of homes in the United States were electrified, but by 1939, this proportion had increased dramatically to approximately 70%.
The New York World’s Fair, which celebrated the 150th anniversary of George Washington’s presidential inauguration, was a momentous occasion for New Yorkers and for the world, attracting some 45 million visitors over its two seasons in 1939 and 1940. The Expo was also a remarkable event for fans of superheroes, as it staged the first ever appearance of Superman. Previously confined to comic books and radio shows, it was on 3 July 1940 that visitors could come to the Expo and for the very first time see the superhero in the flesh.
On this day, known as Superman Day, the cost of a children’s ticket to the Expo was reduced from 50 cents to 5 cents, encouraging visitors to attend. The event was the brainchild of publicist Allen ‘Duke’ Ducovny, with the aim of attracting more visitors to the Expo and boosting sales of the 100-page special edition of DC’s New York World’s Fair Comics, which was only on sale on the Expo site.