ABSTRACT
Since the mid-nineteenth century the frequently organised world exhibitions, appealing to hundreds of thousands of people from around the world and lasting for a couple of months, have instigated the curiosity of many academics. Amusement, architecture, crafts, gadgets, (social) institutions, machines, music, painting, science, sculpture and utensils at these events were studied to learn about contemporary views and activities. Things shown first at exhibitions, such as electric light, telephone, elevators, automobiles, typewriters, vending machines, computers or suspending high-speed trains testified to a dream world, but also visualised a future. World exhibitions were ‘laboratories for urban and architectural design’ (as the 1967 Montreal exhibition was characterised). In short, these events created huge material and intangible spaces, offering the occasion for acquiring new ideas, goods and behaviours. Moreover, the media extensively covered the exhibitions with articles, photos and, later, films, thus spreading their spirit far and wide. Studying these exhibitions is addressing privileged landmarks of national and urban pride, modernisation, international relationships and entertainment.
