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Presents the schedule of several trade fairs in Germany from January to November 2004. Industry sector of Heimtextil Fair; Venue of the Paperworld Fair; Details of the Frankfurter Buchmesse Fair.

A calendar of events from February to September 2009 is presented including the European Coatings SHOW 2009 plus Adhesives, Sealants, Construction Chemical, Exhibition Centre in Nuremberg, Germany, the 29th International Exhibition-Congress for Chemical Engineering, Environmental Protection and Biotechnology in Frankfurt am Main, Germany and The Waterborne Symposium in New Orleans, Louisiana.

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The article is based on a paper presented at the conference "How to Tell About Art?" (Vilnius Academy of Arts, 7-8 May 2021; curated by Lina Michelkevičė, Laura Petrauskaitė, and Aušra Trakšelytė). The topic of the presentation was suggested by the growing interest among the Lithuanian public in historical art exhibitions. Both the conference report and the article are based on the assumption that the increasing visibility of the historical art exhibitions in the Lithuanian cultural field and their growing popularity might have an impact that goes beyond the art historical reflections. Such exhibitions not only develop the audience's sensitivity to artefacts, but also stimulate and partially satisfy the desire to learn about the history of culture, society and politics. The immanent characteristic of art - the perpetual movement of a visual artwork from (total) invisibility to (partial) visibility - implies the significance of an art exhibition and its capacity to communicate the 'inconvenient', and therefore silenced and distorted, memory. A fragment of the past will remain irrelevant for as long as it is unrecognised. By bringing the viewer face to face with the artefacts of a forgotten reality, the exhibition brings the latter closer, sharpens its colours, and makes it vivid. By taking the series of exhibitions dedicated to Lithuanian art and artistic life during WWII as its case study, the article aims to at least partially answer the question: how relevant, influential, and meaningful is the communication of 'inconvenient' and therefore silenced historical topics, particularly in an art exhibition that uses catalogue as its integral part? The article explains the motives for organising these exhibitions, analyses their brief descriptions along with their narrative structure, and overviews the forms and methods of dissemination. In order to provide a broader context for the issues at stake, a juxtaposition is made with similarly themed exhibitions recently held in Germany and Italy. They became renowned for their local and international focus on art produced under the Fascist and National Socialist regimes, as well as under the conditions of WWII. [ABSTRACT FROM AUTHOR]

Participant reactivity was examined in a section of the National Park Center Multimar Wattforum in Tönning, Germany, which combines aquariums with exhibits typical of museums and science centers. Engagement times with exhibits were compared between cued and uncued visitors. Cued visitors were overtly observed. Some were also prompted before the observation period to think aloud. Data were collected by paper-and-pencil timing and tracking. Participants spent approximately 15 min in the observation section. Reactivity was not significant for overtly observed cued visitors unless they were asked to think aloud. In this case, reactivity depended on the type of exhibit. Reactivity was high for information stations, moderate for interactive stations, and low for aquariums. The results indicate that reactivity effects are negligible for overt observation if after the cueing no further interaction between participants and observers takes place but increase considerably even with minimal interaction. [ABSTRACT FROM AUTHOR]

This essay reconstructs the history of a coral-reef diorama, the outcome of a German Democratic Republic expedition to Cuba, that was displayed in East Berlin's Natural History Museum in 1967 on the occasion of the GDR's twenty-fifth anniversary. The paper investigates how the practice of socialist internationalism influenced the diorama's coming into being, arguing that while official diplomatic relations between Cuba and the GDR were a prerequisite for the expedition, nongovernmental contacts were central to both the initiation and execution of the project. It also demonstrates how the diorama's display was informed more by national and institutional concerns than by the rhetoric and policies of internationalism. [ABSTRACT FROM AUTHOR]

This paper considers narratives about traumatic pasts, using interviews with visitors of the two exhibitions about the war crimes of the German Wehrmacht, shown in Germany and Austria 1995 and 2002, as examples. Numerous justification and legitimization strategies are involved in public and private discourses. The study claims that official genres, such as school books or TV documentaries, still launch narratives which exculpate the German Wehrmacht as institution, although the evidence provided by historians and the exhibitions is overwhelming. The topoi used (such as ‘doing one’s duty’; ‘all wars are the same’; and so forth) are to be found in similar debates in other countries as well. Hence, this case study illustrates patterns of argumentation which occur much more generally than only in the specific national contexts studied in detail here. [ABSTRACT FROM AUTHOR]

Purpose – The purpose of this paper is to give an overview and a few highlights from the author's experience at the 2012 Frankfurt Book Fair. Design/methodology/approach – The author visited the Frankfurt Book Fair from October 10 through October 12, visiting a wide variety of vendors across all exhibition halls and attending a number of special presentations. All empirical data are based on personal observations recorded by journal during and directly after each fair visit. Findings – The fair was an excellent chance to learn more about the publishing industry, particularly with respect to the author's prior interests in education and children's and young adult literature. The event is so large, and the vendors so numerous, that all areas of interest to publishers, librarians, educators, booksellers, and others in the book trade are represented. Originality/value – This report should be of particular interest to those thinking of attending the Frankfurt Book Fair for the first time, as well as those who are familiar with the event but were unable to attend in 2012. Educators and library media specialists will find this viewpoint to be written from a perspective that is especially relevant to them and their work. [ABSTRACT FROM AUTHOR]

This paper discusses the Reimann School, a private school of German origin for practical design and the first commercial art school in Britain, as a case study of the migration of continental modernism and the development of display design as modern communication media in inter-war Britain. Special focus is on the role of immigrant artists and designers in Britain in the 1930s, and the Council for Art and lndustry's Sub-Committee on Presentation and Display, which made enquiries into the Reimann School's 'most advanced' window display courses. The Reimann provided an opportunity for widening the architecture-oriented view of exhibition and display design to a more interdisciplinary one based on a wider understanding of modernism in design. [ABSTRACT FROM AUTHOR]

In 1945, the Austrian government constructed a new identity based on having been a "victim" of Nazi Germany. Thus, it had to hush up the fact that a majority of the population had welcomed the Anschluss , hundreds of thousands joined the NSDAP and served in the German Wehrmacht, and many were involved in the crimes of National Socialism. Only in the late 1980s, in the wake of the Waldheim Affair, did the years between 1938 and 1945 have to be re-interpreted. Ten years later, the exhibition "War of Annihilation: Crimes of the Wehrmacht 1941–1944" (short: Wehrmacht exhibition) questioned the myth of the "clean Wehrmacht." Using the examples of the Waldheim Affair and the Wehrmacht exhibition, the article analyzes the influence of grassroots movements stimulated by these events. Since some members of the second generation defended the Wehrmacht rather than embracing the grassroots movements' critique of earlier war myths, it will also problematize the category "generation." Due to the leading role played by prominent Austrian Jews in these grassroots movements, the generational gap within the Jewish community is of further interest. I emphasize that the grassroots movements needed the support of Austrian political parties and from abroad to achieve a modicum of success. [ABSTRACT FROM AUTHOR]

The article reviews the exhibition "FMB – Fachmesse für Maschinenbau 2024" at the Bad Salzuflen in Germany from November 5 to 7, 2024.

Reviews and announcements of publications, conferences, and other events in the social sciences are presented, including about an exhibition about social movements in Munich, Germany, in the 1970s, entitled "Wem gehört die Stadt?" and on view until September 1, 2013, in Munich, the World Social Forum conference in Tunis, Tunesia, from March 26-30, 2013, and the working paper "Wie mit Homophobie Politik gemacht wird: Menschenrechte und Verfolgung von LSBTI-Aktivist_innen in Afrika," by Rita Schäfer and Eva Range, part of the FES Internationale Politikanalyse series.

The article reviews the exhibition "Good Vibrations--Geometry and Art," at the ALTANA Gallery, Dresden, Germany from May 30 to August 8, 2008.

Reviews several textile exhibitions, including the "Princely Interiors: Furnishing Textiles of the 18th Century," at the Abegg-Stiftung in Riggisberg, Germany from April 24 to November 13, 2005, "Style and Splendour: Queen Maud of Norway's Wardrobe 1896-1938," at the Victoria & Albert Museum in London, England from February 2, 2005 to January 8, 2006, and "CIETA 50th Anniversary Conference," at the Musée de Beaux-Arts at Lyons, France from September 26-29, 2005.

Features the exhibit "Albert Einstein: Ingenieur des Universums/Chief Engineer of the Universe," which commemorates Einstein’s life and scientific achievements, at Kronprinzenpalais in Berlin, Germany. Presentation of Einstein and his science in many different contexts; Appeal of the exhibit for visitors with physics background.

This article applies the theory of “key educational experiences” to argue that while German memorials and documentation centers provide visitors with ample information about the Third Reich, their tone of neutral objectivity and their strategies of identity dissociation prevent German visitors from identifying with the German past. The sites' declared educational goals are thus undermined. The author concludes that a post-traumatic pedagogy of repression and evasion is unlikely to create key experiences that will have long-term effects on visitors' identities. [ABSTRACT FROM PUBLISHER]

The article provides a Southern California report on the additional American sculpture holdings of the Archives of American Art. The Archives was able to compile different collections including the letters and works of William Couper, Robert Forsyth, and George Julian Zolnay. The collection of Couper's letters donated by his nephew Monroe Couper includes more than 200 Couper letters addressed to his family and wife dating from 1874 to 1908. Because Couper remained in Europe for 24 years, he became accustomed with the foreign cultures and began writing letters presenting his art training in Munich at the Academy of Fine Arts and the Royal College of Surgery. On the other hand, papers of art historian Robert Forsyth and George Julian Zolnay also contributed to the holdings of the Archives.

The article reviews the exhibition “Architectural Master Drawings fromthe Albertina" at the Tchoban Foundation Museum for Architectural Drawing in Berling, Germany from March 12 to July 10, 2016.

An essay is presented that discusses the 1929 traveling exhibition "Film und Foto" ("FiFo"), organized by the association Werkbund. It focuses on the exhibition of works by photomontage artist John Heartfield. Topics include the Werkbund's philosophy of photography and its exhibition, a Soviet (USSR) pavilion at the 1928 Pressa exhibition in Cologne, Germany, and political aspects of Heartfield's book cover designs.

This text is part of a larger research project on the visual results, the concepts and the debates behind exhibition making in Dachau from 1945 until the latest redesign finished in 2003. Exhibition making in Dachau is a worthwhile and complex field of study because of continuous debate on how the history of the concentration camp should be visually represented on site. Here, the interplay of political and creative considerations can be seen as an indicator of how the remembrance of Nazi crimes is dealt with in Germany. My focus in this article is about the exhibition that was set up during the creation of the Dachau memorial site in 1965. It was shown until 2002 and had, by that time, been visited by more than twenty-five million people. The year 1965 constitutes a clear break in the design history of the Dachau exhibitions because it was the first time that the exhibition was not created by survivors but commissioned from a professional designer. I will examine the occasion that gave rise to this commission and the exhibition that resulted before exploring historical prototypes for its concept and its reception, using literary texts as well as contemporary press material. I will comment on the relationship between the 1965 exhibition and its successor(s). Following a period of reconfiguration of all the main Nazi-crime memorial sites in Germany, today a discussion on its future design has already begun. [ABSTRACT FROM PUBLISHER]

The article presents an overview of the German Museum of Natural History Berlin's collection of Cretaceous plant fossils taken from the lower Silesia region from the mid 19th to the early 20th century. Details are given outlining several featured artifacts within the collection and noting their locations of origin and the scientists who uncovered them. Further discussion is given noting how the region of Silesia has fallen under several geopolitical jurisdictions and therefore deserves to be treated as a historically international cooperative venture between the Czech Republic, Germany and Poland.

The article reviews the exhibition "Swans and Firebirds, The Ballets Russes 1909-1929: Images of "Russianness" in Movement" at the Deutsches Theatermuseum in Munich, Germany from February 18 to June 1, 2009 and at the Österreichisches Theatermuseum in Vienna, Austria from June 25 to September 27, 2009.

This article examines Old Berlin, part of the Berlin Industrial Exhibition of 1896. The exhibit presented a stylized vision of the city circa 1650 to almost 2 million visitors, making it Berlin's largest public historical attraction during the period before World War I. Analysis of the exhibit shows the ways in which popular history helped to create and foster a sense of city pride. This local cosmopolitan identity ran parallel to and at times even supplanted the German national identity considered central to this period. In addition, amateur historians relied on modern technology to mount and market the exhibit, thereby making it a union of progressive means and nostalgic views of the past. [ABSTRACT FROM AUTHOR]

Documenta 11, the international platform of contemporary art and ideas, was held in Kassel, Germany in 2002. Following its aim to "activate the space of public art as a site for the reconciliation of current political conflicts," the curators designated "Truth and Reconciliation" as one of the platform themes. This essay evaluates Documenta's success at staging this theme, and addresses the criticism that the curators' emphasis on public discourse diminished the aesthetic effects of the art shown. It elaborates a comparison between two works: Eyal Sivan's film about Adolf Eichmann, The Specialist (1996-1999), which featured in the 2002 exhibition, and Peter Weiss' earlier play The Investigation (1964), which dramatizes the Auschwitz Trials held in Frankfurt from 1963-1965. Drawing from Theodor W. Adorno's writings both on the Documenta projects of the 1950s and 1960s and on the aesthetics of the documentary, this essay demonstrates that the contemporary art exhibited in Documenta 11 does not advance any critical strategies beyond those that emerged in Weiss's drama. The Investigation offers an aesthetics of negativity that The Specialist does not match. [ABSTRACT FROM AUTHOR]

The Hannover Region is extremely interested in the development of an innovative information and communication technology (ICT) cluster through the continued use of the EXPO 2000 site. This article looks into the question of whether the potential for the successful development of an ICT cluster exists. The location factors considered by the ICT firms to be poor, such as cooperation with consulting and transfer facilities, the administration and educational facilities, the missing critical mass of related and supporting industries and R&D facilities, all indicate serious weaknesses in the ICT sector. But, the development of the Hannover EXPO Park into a nucleus of the regional ICT cluster, which was begun after the end of EXPO 2000, is counteracting these deficits. [ABSTRACT FROM AUTHOR]

Examines commercial-legal commercial reforms as one aspect of the economic recovery of Saxony, Germany from the Thirty Years War of 1618-1648 and the growth of the Leipzig trade fairs. Commercial and financial services from Leipzig's merchants; Stabilization of trade routes after 1648; Examination of the 1681 organization of the Leipzig Wholesalers' Association.

The article reports on the highlights of the home and household textile fair called Heimtextil at the Messe Frankfurt fair complex in Frankfurt, Germany in 1989. Heimtextil is one of the 12 largest international events held in Frankfurt every year. The 1989 Heimtextil focused on 19th interior-textiles. There were about 1,900 exhibitors from 50 countries Almost all countries were represented through several presentations. Some of the designs of leading textile manufacturers are described, including the designs of Creation Baumann, Boras Wafveri and Oy Finlayson AB.

The article focuses on the Bocydium globulare sculpture made by sculptor Alfred Keller which was displayed during the Die Sammlungen/The Collections exhibition held at the Museum of Contemporary Art in Berlin, Germany. It says that the sculpture was made out of a papier maché which was added with cast in wax, with wings, and bristles in celluloid and galalith. It mentions that the models made by Keller were based on the things on the past but far from obsolete.

The article offers information on the art exhibition featuring the works on the expedition of Alexander the Great to be held at Reiss-Engelhorn-Museen in Mannheim, Germany from October 3, 2009 to February 21, 2010. It highlights the Ancient Near Eastern metropolis of Babylon, intended capital of Alexandrain empire, and Central Asia. It mentions that archaeological finds feature the fertile encounters and intercultural influences of several traditions including Greek, Achaemenid, and Bactrian.

Highlights the art exhibition featuring paintings by German artist Margaret Leiteritz based on graphs in texts on chemistry and physics. Art works included in the exhibition; Techniques and materials used by the artist.

Focuses on the exhibition, entitled "Glaciers in the Greenhouse," featuring postcards of glaciers in Germany, Austria, Switzerland, Italy and France, collected by Wolfgang Zangl and Sylvia Hamberger, at the Alpine Museum in Munich, Germany. Role of glaciers in the Alpine water balance; Factors contributing to the decline in the number of glaciers in the Alps; Presentation of diagrams to illustrate the problem of global warming in the twentieth century.