This book examines ephemeral exhibition spaces from 1750-1918, focusing on domestic interiors and public exhibitions that displayed national/imperial identity alongside foreign otherness.
This book explores ephemeral exhibition spaces between 1750 and 1918. The chapters focus on two related spaces: the domestic interior and its imagery, and exhibitions and museums that display both national/imperial identity and the otherness that lurks beyond a country’s borders. What is revealed is that the same tension operates in these private and public realms; namely, that between identification and self-projection, on the one hand, and alienation, otherness and objectification on the other. In uncovering this, the authors show that the self, the citizen/society and the other are realities that are constantly being asserted, defined and objectified. This takes place, they demonstrate, in a ceaseless dynamic of projection versus alienation, and intimacy versus distancing.
I. Introduction: Ephemeral Exhibition Spaces and the Dynamic of
Historical Liminalities (Dominique Bauer, KU Leuven), II. Liminal
Domesticities,
1. Panorama as Critical Restoration: Examining the Ephemeral
Space of Viollet-le-Duc's Study at La Vedette (Aisling O'Carroll),
2. An
Ephemeral Museum of Decorative and Industrial Arts: Charle Albert's Vlaams
Huis (Daniela Prina),
3. Expanding Interiors: Architectural Photographs of
the Countess de Castiglione (Heidi Brevik-Zender) (University of California,
Riverside/ Fulbright Visiting Scholar Professor, University of Aberdeen),
III. Bygone nations and empires under construction. The political imagination
of liminality,
4. The Land that Never Was: Liminality of Existence and the
Imaginary Spaces in the Archbishopric of Karlovci (Jelena Todorovic),
5. The
Theatre of Affectionate Hearts: Izabella Czartoryska's Musée des Monuments
Polonais in Pu?awy (1801-1831) (Michal Mencfel),
6. A Burning Mind, a Dream
Space, a Fantastic Exhibition (Inessa Kouteinikova), IV. England and the
British Empire. Civil society, civil service and the liminal position of
transient spaces,
7. An Ephemeral Display within an Ephemeral Museum: The
East India Company Contribution to the Manchester Art Treasures Exhibition of
1857 (Elizabeth Pergam),
8. Julia Margaret Cameron's Railway Station
Exhibition: A Private Gallery in the Public Sphere (Jeff Rosen),
9. Paper
Monument: The Paradoxical Space in the English Optical Toy Paper Peepshow of
the Thames Tunnel, 1825 - 1843 (Shijia Yu), Index.
Dominique Bauer is Assistant Professor of History at the Faculty of Architecture, University of Leuven, Belgium, and a member of the Centre dAnalyse Culturelle de la Première Modernité at the Université Catholique de Louvain. Camilla Murgia is Assistant Professor in History of Art at the Adam Mickiewicz University in Poznan. Previously, she was Junior Lecturer and Substitute Senior Lecturer in History of Art at the University of Lausanne, where she researched space, theatre, and staging in nineteenth-century France.
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