Publicação
Peculiar relationships on display: Belgian art exhibitions in Philadelphia and Buenos Aires in 1882 and 1887
| Resumo: | The present paper studies two exhibitions that are virtually unknown in the field: the Belgian art expositions in Philadelphia and Buenos Aires in 1882 and 1887. The exhibitions took place outside the contexts of universal expositions and world fairs but they were not private commercial ventures. They were government projects, driven by consuls and by the King Leopold II. For this reason, I consider these exhibitions as results of economic, political and colonial endeavors rather than artistic products. The focus is not on the artworks, but on the dynamics underlying, and generated by, the exhibitions. As this study demonstrates, these art shows were not just instruments to open new markets for Belgian art abroad, but also constituted a medium to negotiate and shape relationships and narratives with and in foreign countries. |
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| Autores principais: | Dhaenens, Laurens |
| Assunto: | Belgian art Buenos aires Philadelphia Exhibition history Cultural diplomacy Arte belga Filadélfia História das exposições |
| Ano: | 2019 |
| País: | Portugal |
| Tipo de documento: | artigo |
| Tipo de acesso: | acesso aberto |
| Instituição associada: | Universidade Nova de Lisboa |
| Idioma: | inglês |
| Origem: | Repositório Institucional da UNL |
| Resumo: | The present paper studies two exhibitions that are virtually unknown in the field: the Belgian art expositions in Philadelphia and Buenos Aires in 1882 and 1887. The exhibitions took place outside the contexts of universal expositions and world fairs but they were not private commercial ventures. They were government projects, driven by consuls and by the King Leopold II. For this reason, I consider these exhibitions as results of economic, political and colonial endeavors rather than artistic products. The focus is not on the artworks, but on the dynamics underlying, and generated by, the exhibitions. As this study demonstrates, these art shows were not just instruments to open new markets for Belgian art abroad, but also constituted a medium to negotiate and shape relationships and narratives with and in foreign countries. |
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