View allAll Photos Tagged exposition
Wasson, C. L., copyright claimant.
She tore the azure robe of night and set the stars of "glory there" - Fireworks. Louisiana Purchase Exposition
Decatur : International View Co., 1904.
1 photographic print on stereo card : stereograph.
Notes:
No. 3193.
Title from item.
Subjects:
Louisiana Purchase Exposition--(1904 :--Saint Louis, Mo.)
Fireworks--Missouri--Saint Louis--1900-1910.
Night--Missouri--Saint Louis--1900-1910.
Format: Stereographs--1900-1910.
Photographic prints--1900-1910.
Rights Info: No known restrictions on publication.
Repository: Library of Congress, Prints and Photographs Division, Washington, D.C. 20540 USA, hdl.loc.gov/loc.pnp/pp.print
Higher resolution image is available (Persistent URL): hdl.loc.gov/loc.pnp/stereo.1s03523
Call Number: LOT 11041-2, no. 38
Pour son exposition au Centre d’art contemporain de la Matmut – Daniel Havis, Maia Flore fait se rencontrer deux composantes essentielles à la vie : le rire et le rêve. Ses photographies, créées à partir de souvenirs et d’impressions, nous emmènent dans l’imaginaire de l’artiste. Un imaginaire foisonnant remplit de malice et de poésie.
Maia Flore utilise la photographie comme principal médium, qu’elle souligne par la pratique du dessin et du collage. Comme une conteuse visuelle, l’artiste transforme la réalité et magnifie les choses simples qui nous entourent. Un coucher de soleil, un arbre en fleur ou encore un ciel un soir de pleine lune : découvrir le travail de Maia Flore c’est s’autoriser à rêver…et à rire d’un petit rien ! La photographe s’inspire de ce qui l’entoure pour créer ses compositions, parfois numériquement. Un brin surréaliste, elles sont souvent teintées d’humour. Maia Flore s’empare de situations du quotidien pour en faire des mises en scène cocasses dont elle est la principale actrice. La place du corps est au cœur de ses images : il est toujours en mouvement, en lévitation, gracieux, parfois même en fusion avec son environnement. Toutefois, l’artiste nous cache son visage pour que le spectateur s’identifie mieux au personnage de ses photographies. Le parcours de l’exposition met en avant le travail métaphorique de Maia Flore, qui navigue habilement entre le monde réel et le monde imaginaire laissant place à une intimité visuelle qui unit le corps humain et le paysage. En explorant les galeries du centre d’art, les visiteurs sont transportés dans un rêve onirique captivant et amusant.
La photographe française Maia Flore née en 1988 oscille entre la France et les États-Unis. Juste sortie de l’école des Gobelins, elle devient membre de l’agence Vu en 2010 et reçoit le Prix pour la photographie HSBC en 2015. Les différentes résidences auxquelles elle a participé et les expositions internationales l’on amenées à voyager de Rio à Rome, ou de Moscou à Buenos Aires. Elle a exposé à la galerie Themes+Projects à San Francisco et à la galerie Fremin à New York. Les thèmes du voyage, des paysages, du mouvement et du corps lui sont chers.
For her exhibition at the Matmut – Daniel Havis Contemporary Art Centre, Maia Flore brings together two essential components of life: laughter and dreams. Her photographs, created from memories and impressions, take us into the artist’s imagination. A teeming imagination filled with mischief and poetry. Maia Flore uses photography as her main medium, which she highlights through the practice of drawing and collage. Like a visual storyteller, the artist transforms reality and magnifies the simple things that surround us. A sunset, a tree in bloom or even a sky on a full moon night: discovering Maia Flore’s work is allowing yourself to dream…and laugh at a little nothing! The photographer draws inspiration from what surrounds her to create her compositions, sometimes digitally. A bit surreal, they are often tinged with humor. Maia Flore takes everyday situations and turns them into comical stagings in which she is the main actress. The place of the body is at the heart of her images: it is always in motion, levitating, graceful, sometimes even merging with its environment. However, the artist hides her face so that the viewer can better identify with the character in her photographs. The exhibition itinerary highlights Maia Flore's metaphorical work, which skillfully navigates between the real world and the imaginary world, leaving room for a visual intimacy that unites the human body and the landscape. By exploring the galleries of the art center, visitors are transported into a captivating and amusing dreamlike dream.
French photographer Maia Flore, born in 1988, oscillates between France and the United States. Fresh out of the Gobelins school, she became a member of the Vu agency in 2010 and received the HSBC Photography Prize in 2015. The various residencies in which she participated and international exhibitions have led her to travel from Rio to Rome, or from Moscow to Buenos Aires. She has exhibited at the Themes+Projects gallery in San Francisco and at the Fremin gallery in New York. The themes of travel, landscapes, movement and the body are dear to her.
Usine métallurgique Volklinger Hütte à Volklingen, en Sarre Allemande, transformée en musée de la métallurgie, et acceuillant des exposition temporaires. Patrimoine mondial de l'humanité.
fr.wikipedia.org/wiki/Usine_sid%C3%A9rurgique_de_V%C3%B6l...
BANKSY
Banksy est le pseudonyme d'un(e) artiste britannique connu pour son art urbain (ou street art) et également comme peintre et réalisateur.
Dissimulant sa véritable identité, Banksy est entouré de mystère.
dancer outside the pavilion of kazakhstan.
i spent the whole day at universal exposition in milan. it was for work, so i got paid to be there. hell, if i had bought the ticket with my own money, i would have been so pissed! it was really disappointing.
of course this is just my opinion, but i expected it to be a lot better.
some of the pavilions are really spectacular, but all together they look like a mess, and the inside is not that interesting (not to mention the infinite queue to get into the most popular pavilions).
world's fairs might have been super cool in the 19th century, but by now the concept seem to be pointless
168/365
Where Are We Going ?
Installation de Chiharu Shiota (Japon, 1972)
fr.wikipedia.org/wiki/Chiharu_Shiota
2017/2024
Laine blanche, fil de fer, corde
Dimensions variables
Courtesy galerie Templon, Paris/Bruxelles
------------------------
Exposition "Chiharu Shiota. The Soul Trembles/ Les Frémissements de l'Âme"
Grand Palais, Paris
Née à Osaka en 1972 et résidant à Berlin, Chiharu Shiota est mondialement reconnue pour ses installations monumentales faites de fils de laine entrelacés. Ces toiles gigantesques enveloppent très souvent des objets de son quotidien et invitent à un voyage onirique majestueux. Ses créations protéiformes explorent les notions de temporalité, de mouvement, de mémoire et de rêve, et requièrent l’implication à la fois mentale et corporelle du spectateur... (Extrait du site de l'exposition)
Comme chaque année je participe à cette expo pour photographes amateurs. ce sont les photos que j'ai sélectionnées
every year I take part to this exhibition organized by the mayor of Wittenheim
Griffith Park Observatory at Los Angeles, California, USA
A long exposure of Hollywood sign with my 200mm form the mountain near of Griffith Park Observatory.
---
Un longue exposition de l'enseigne de Hollywood prise à 200mm proche de l'observatoire d'Hollywood.
Exposition Mike Giant / Dalek du 25 Avril au 23 Mai 2009
Galerie Magda Danysz
78, rue Amelot
Paris 11 - France
"un ange passe" Joël Frémiot peintures, Jean Mauret vitraux et sculptures et Patrick Peltier sculptures
The Nepalese Peace Pagoda complemented the Nepalese Pavilion at the World Exposition 1988 (Expo 88), held at Southbank in Brisbane. The square, three-level replica of a traditional Nepalese temple is built of hand-carved wood, and has a double-tiered roof of brass with brass trimmings. It proved popular with the crowds who attended Expo 88, and the Peace Pagoda is the last international exhibit remaining on the Expo 88 site. It was originally sited near the Vulture Street entrance to Expo 88. In 1991 it was moved to its current location, amongst the rainforest near the northern riverbank entrance to the Southbank Parklands.
World Expositions (or Exhibitions) become increasingly popular after the 1851 Great Exhibition in London, but their frequency, and the standard of their facilities, was not regulated until after the 1928 Paris Convention on International Expositions. The Bureau International des Expositions (BIE) was established in 1931 to administer the Convention. Under BIE rules there are two types of international exposition: the Universal/Category A/General Exposition, and the International/Category B/Special Exposition. The former involves broad themes, and participants design their own pavilions from the ground up, based on the theme.
The International Exposition, which has a narrower theme, is much cheaper to host, and is usually limited to one branch of human endeavour. Participants rent prefabricated pavilions from the host country's committee. Brisbane's Expo 88 was an International Exposition, with the theme "Leisure in the Age of Technology". Most of the structures built on exposition sites are intended to be temporary, but some sites have become parks, incorporating surviving exposition elements, including the sites of Montreal 1967, Seville 1992, Taejon 1993, and Lisbon 1998. Some structures have gone on to become landmarks in their own right, such as the Royal Exhibition Building (Melbourne 1880), the Eiffel Tower (Paris 1889), and the Space Needle (Seattle 1962).
The first bid to bring an exposition to Brisbane in 1988 began with James Maccormick , the architect who had designed the Australian pavilions at Montreal 1967, Osaka 1970, and Spokane 1974. The Brisbane Chamber of Commerce was converted to the idea, and lobbied the Queensland State Government during 1977. However, the Queensland Government was worried about the cost of a Universal Exposition, and was preoccupied with its bid for the 1982 Commonwealth Games. A second Queensland bid was made in 1981. The Australian Bicentennial Authority (ABA), under John Reid, wanted an Universal Exposition in Australia as part of Bicentennial in 1988, and the Federal Government was prepared to fund half of the cost of an exposition in Melbourne or Sydney. However, when these states turned the offer down in January 1981, Reid approached the Queensland Government with a proposal for a cheaper International Exposition. In late 1981 the State Cabinet funded a study that identified South Brisbane as the preferred site. The State Cabinet approved the study on 5 November 1981, on the condition that the Federal Government share the capital costs, but Prime Minister Malcolm Fraser rejected this notion in December 1981.
Queensland made two more attempts in 1982 for an International Exposition. Frank Moore, Chairman of the Queensland Tourist and Travel Corporation (QTTC), believed that private enterprise could fund the exposition, and that it would benefit Queensland's tourism. Queensland's Premier Joh Bjelke-Petersen asked Prime Minister Fraser to get the BIE to keep a slot open for Brisbane in 1988. Fraser was willing to support this proposal, so long as there was no Federal financial commitment. However, Queensland private enterprise was not forthcoming, and Bjelke-Petersen withdrew the proposal in April 1982. November of 1982 witnessed a renewed bid by the State Government. The State would lend money to a statutory authority, which would be tasked with buying and developing the land, and managing the exposition. Brisbane's application was sent to the December 1982 meeting of the BIE in Paris, and was approved in June 1983.
The Brisbane Exposition and South Bank Redevelopment Authority (BESBRA) was established in February 1984 by an Act of the Queensland Parliament. BESBRA was soon referred to in the media as the Expo 88 Authority, or the Expo Authority. Sir Llewellyn Edwards, the Deputy Premier, was appointed as Chairman. In April 1984 the Expo 88 Authority's general manager, Bob Minnikin, claimed that Expo 88 would require $180 million to produce, including resumptions and development, and $90 million to run. It was hoped that gate takings and sponsorship would cover the running costs, and that the development cost would be recouped through selling off the site after Expo 88. Only 13 hectares of the Expo 88 site was private land, with the remainder of the 40 hectares belonging to either the State Government or the Brisbane City Council. Nonetheless, the last resumption did not occur until October 1984, as the owner of the heritage-listed residence 'Collins Place' fought a running legal battle with the Expo 88 Authority.
Grey and Stanley Streets were closed to traffic in July 1985, and demolition work began. Construction of the pavilions started in January 1986. The concept of the Expo 88 architects, Bligh Maccormick 88, included eight large shade-canopies, to protect the public from the Queensland sun. Landscaping began in March 1987, and the Monorail, which would circle the site on a 2.3 kilometre long track, was commissioned in June of that year. By January 1988, $90 million of the $136.8 million construction budget had been spent, and 7.8 million visitors were expected.
During 1987 developers had been asked to present their proposals for Southbank's redevelopment after Expo 88. In February 1988 the State Government announced that the redevelopment plan of the River City 2000 Consortium had been accepted. The Consortium, headed by Sir Frank Moore of the QTTC, had visions of a World Trade Centre on an island, and a casino. However, by early 1988 there was a growing call in the media for more of the site to be turned into public parkland. During March and April 1988 the National Trust protested the River City 2000 Consortium's scheme to move Collins Place, the Plough Inn, and the Allgas Building, three heritage listed buildings, to a historic village. Premier Mike Ahern eventually gave reassurances that this would not happen.
Expo 88 ran for seven days a week, between the hours of 10am-10pm, for six months. Between its opening on 30 April, attended by Queen Elizabeth II, and 30 October 1988, the Expo attracted 15,760,447 visitors, the majority of these being Australians. Most of the international visitors were Japanese, but 100,000 came from the United Kingdom and Europe, with 150,000 visitors from the United States. A total of 36 nations, two international organisations, 14 state and regional governments, and 34 corporations had exhibits.
The pavilions were mostly plain, modular, and temporary. However, the Nepalese Peace Pagoda is a distinctive building, and was easily noticed as the public came through the Vulture Street entrance to Expo 88. The Association to Preserve Asian Culture (APAC) commissioned the Peace Pagoda, which was built by 160 craftsmen of the Kathmandu Valley over two years, before being assembled in Brisbane. It is one of only three such temples outside Nepal, the others being at Munich and Osaka. Nepal has a long history of intricate woodcarving on buildings, and the Peace Pagoda was an attempt to showcase this skill to the world. The two small timber pavilions in front of the Peace Pagoda sold yoghurt lati, samosas, orange juice and lemon tea. Artisans demonstrated their crafts inside the ground floor of the Pagoda, and people could drink their tea and watch the Expo crowds from the teahouse on the first floor. The nearby Nepalese pavilion showcased traditional costumes, climbing dress, photographs, and artefacts.
Expo 88 was a turning point for Queensland's culture and economy, especially in Brisbane. On 30 May 1983 Joh Bjelke-Petersen had noted that if Brisbane's bid were successful, it would focus the world's spotlight on Queensland. Sir Frank Moore believed that the key to developing a major tourist industry in Queensland was a series of hallmark events, including the 1982 Commonwealth Games, which would focus attention on Queensland far better than any advertising campaign. Expo 88 was also intended to start Brisbane on a modernisation process, and towards becoming a 'global' city. The urban renewal of South Brisbane was just one aspect. In April 1984 Sir Llew stated that Queensland would never be the same again after Expo 88, and Brisbane would develop an image as a centre of trade, culture and entertainment. In April 1988 the Courier Mail claimed that Expo 88 was "bridging the yawning gap from a hayseed State to an urbane, international future". Sir Llew also claimed in April 1988 that the aim was for Expo 88 to be a catalyst for a change in lifestyle. Queenslanders had experienced extended opening hours and outdoor café dining, and had liked it.
While the crowds enjoyed Expo 88, controversy continued regarding future plans for the site. There were calls for more public input on redevelopment plans. About 4.5 hectares of land between Stanley Street and the river belonged to the Brisbane City Council (BCC), as Clem Jones Park, and had been lent to the Expo 88 Authority. In June 1988 it was decided to restore this land as parkland, and the River City 2000 Consortium lost its Preferred Developer status.
Government plans for a South Bank Development Corporation were announced, and in July 1988 an interim committee, headed by Sir Llew, was formed to oversee redevelopment. Sir Llew noted in October 1988 that more public funding was necessary to increase the parkland component of the new Southbank, as the land had been earmarked for development to repay for the cost of Expo 88. The draft redevelopment plans released in November 1988 included 12 hectares of parkland. Public submissions on the plan suggested that people wanted to be able to return to the Expo 88 site, to a public facility that had a similar combination of food, art and nature.
At the end of Expo 88, the APAC had planned to sell the Nepalese Peace Pagoda, and it appeared likely that it would be moved to Japan. However, 90,000 people had signed a petition during Expo 88 to keep the Peace Pagoda in Brisbane, and in late 1988 the BCC offered to provide land for the Peace Pagoda, if the Federal Government would pay for its cost and maintenance. A "Save the Pagoda Campaign" was active by February 1989. Public donations eventually totalled $52,000, with $30,000 coming from one couple, who wanted to "give Brisbane something to remember from Expo 88". The BCC provided $50,000, and the Federal Government supplied $100,000. "The Friends of the Pagoda Committee" also raised funds to buy several items that had complemented the Peace Pagoda, including a brass statue of the deity of compassion, a bronze bell and carved stone frame, and a stone lingam.
The Southbank Development Corporation was set up February 1989, with Vic Pullar as the Chairman. Approximately $200 million had been spent on developing the Expo site, and this money had to be recouped. The South Bank Corporation Act was passed in May 1989, and the former Clem Jones Park area was transferred to the Southbank Corporation, which was tasked with managing a new parkland precinct. In June 1989 submissions were sought from five architectural firms, and in August the "Media Five" concept of a mixed residential, commercial, and parkland development was chosen. Under Media Five's plans, the Peace Pagoda would be moved to the northern part of the parklands. The Media Five Chairman, Desmond Brooks, also suggested that Collins Place, the Plough Inn and the Allgas Building be removed to a historic village, but Vic Pullar rejected this idea. However, when the Southbank Corporation's Draft Development Plan was released in November 1989, it proposed to only keep the facades of the historic buildings. After protests by the National Trust, the State Government overruled the Southbank Corporation.
The proposed redevelopment included a waterway through the park, and a large lagoon, which was later downsized. In March 1990 the Final Plan was presented, after public submissions, and site redevelopment started in July 1990. The official Southbank Parklands opening occurred on 20 June 1992. The Waterway was later filled in and replaced with the Energex Arbour, which was officially opened in March 2000.
The transfer of the Peace Pagoda to its current site started on 24 September 1991. The deity of compassion was moved from the first floor to a glass case on the ground floor, the sides of the ground floor were encased in glass, and a display case was added inside. Access to the first floor was sealed off. The two smaller pavilions were also transferred, but their service windows were locked up. Two lion statues and two elephant statues were also relocated. The building was originally designed to be demountable, but it is currently set in a ceramic tiled floor. The Peace Pagoda was one of the best-loved exhibits at Expo 88, as visitors were able to relax in it away from the bustle of the crowds. Today it is still popular, both with tourists, and those who go there to meditate and reflect.
Source: Queensland Heritage Register.
I think this set of photos were taken in Cleveland during the Great Lakes Exposition. 1936 or 1937. Please correct me or better yet, verify locations. B
This little Gordini had an impressive career, notably holding a series of records including one for 48 hours at an average speed of 103 km/h.
570 cc
4 In-line
23 hp
Vmax : 125 km/h
Cité de l'Automobile - National Museum
Schlumpf Collection
17 rue de la Mertzau
Mulhouse - France
July 2013
Over the years the Mahy family had collected a huge and also unique collection of classical and special cars. Grandfather Ghislain Mahy (1907-1999) started in the early 1950s to buy old cars just to prevent them from being scrapped. Initially he was intended to restore them, but soon his collection had grown beyond limits. In the 1980s he possessed over 1000 classical cars. So most cars were kept and put aside in the state as found. Only a small amount could be restored: a few of them can be admired in Autoworld, Brussels. See: www.autoworld.be/onthaal
After the death of patron Ghislain his son Ivan (84) and grandson Michel (56) became his successors in charge of the family treasures.
In the 1990s the Mahy collection had to leave the old Ghent Winter Circus building. Between 1996 and 1999 a huge operation was executed to move the whole collection to a new home in an old deserted textile factory in in Leuze-en-Hainaut (B). In this new museum some 1000 classic cars can be seen.
See also: www.mahymobiles.be
Some fifty original and unrestored cars were to be seen here at this temporary exposition at the Ghent Vynckier Site. All selected jewels are of the most extraordinary cars automobile history can offer.
The Tatra streamlined cars are one of the most extravagant cars I know. These futuristic vehicles were its time far ahead.
The T87 was based on the T77 which was first presented in 1934.
In the early 1930s the concept of fast and economical built streamlined cars became very popular. Not only in the US but mainly in Germany and Middle-European countries avant-garde ideas were put into practice. The Tatra T77 was developed by designer and engineer Paul Jaray (Hungary, 1889-1974) and Hans Ledwinka (Austria, 1878-1967, also designer and engineer). Cooperator was engineer Erich Übelacker (Czech, 1899-1977).
Jaray was an early pioneer in streamlined airplanes and car bodies. Ledwinka invented the so called backbone chassis: a frameless central tubular chassis with swing axles and with independent suspension. He had a preference for rear-mounted air-cooled engines, which were applied in all streamlined Tatras. The revolutionary ideas of these automotive inventors resulted in one of the greatest cars ever, at least to my opinion. In the late 1990s there were some festivities in Holland in the context of the 100 year anniversary of the automobile. There was made a list of the 100 most special cars in automotive history. Tatra was not on that list. That was really incredible to me. All the more because Tatra had a great influence in modernizing car design. Tatra should not be missing from this list of icons.
2968 cc air-cooled V8 rear-engine.
1480 kg.
Production T87: 1937-50.
Production year: 1943 (although there was no production in 1943-44).
Exposition Mahy, a Family of Cars, Vynckier Site Gent.
Gent, Nieuwevaart, Oct. 30, 2021.
© 2021 Sander Toonen, Halfweg | All Rights Reserved
"un ange passe" Joël Frémiot peintures, Jean Mauret vitraux et sculptures et Patrick Peltier sculptures
STROKAR INSIDE, c’est une plateforme internationale des arts urbains transformée en « supermarché version 4.0 » du street art et grand atelier-laboratoire des arts urbains dans la superficie de l’ancien mythique Delhaize de la chaussée de Waterloo au sein du quartier Molière. Un lieu unique en Europe dans un espace inédit attractif pour y faire venir les plus grandes légendes internationales du street art, en y associant les street artistes belges et permettre de sensibiliser le grand public à la beauté de cette discipline.
Un ancien supermarché sur une superficie d’environ 5000 M2 a été investi, situé au coeur de la Capitale de l’Europe, Bruxelles, dans l’un de ses quartiers les plus huppés, pour y développer un concept total combinant un musée, une galerie, un espace bar, un shop, des solo shows d’artistes, un skate park, une foire d’art, des expositions, un parcours de fresques,des projections de films et documentaires, des happenings et performances autour du street art et du graffiti à un niveau international.
STROKAR INSIDE is an international platform of urban arts transformed into "supermarket version 4.0" of street art and large workshop-laboratory of urban arts in the area of the former mythical Delhaize of the Chaussée de Waterloo in the Molière district. A unique place in Europe in a unique space attractive to bring the greatest legends of international street art, involving Belgian street artists and raise awareness of the general public to the beauty of this discipline.
A former supermarket on an area of about 5000 M2 was invested, located in the heart of the Capital of Europe, Brussels, in one of its most exclusive neighborhoods, to develop a total concept combining a museum, a gallery, a bar area, a shop, artist solo shows, a skate park, an art fair, exhibitions, a fresco course, screenings of films and documentaries, happenings and performances around street art and graffiti at an international level.