One of the reasons why global expositions, biennials, and artfairs appear as
‘new’ global institutions is due in part to the museumifying permanence of
objects reflecting the manufacture of the art / science divide. Throughout
the twentieth century, it was the museum, not the biennial artfair, that
inscribed the artwork and the artefact according to the categories of the
modern and the primitive, the west and the non-west. The historical objects
collected by museums in Europe and the United States have come to represent
the colonialist past, and its archival methodology is defined by the
temporary collections of some of the same cultures represented in global
artfairs worldwide. Ultimately, this chapter’s contextualization of the
discursive domain of museums, global expositions, and their representation
of Chinese states is conceived as a study of the ‘performative archive.’ In
the analysis of the first artists representing China, Taiwan and Hong Kong
in official pavilions at the Venice Biennale between 1993 and 2005, the
individual case studies offer an understanding of how cultural and national
identities are performed and produced in the expositions’ metaphorical
In this chapter, the author, through a family history, speaks of how forced exile persists through generations. He narrates the series of events that took place after he left England and moved to United States, including the catastrophic failures of nuclear reactors. The discussion largely focuses on the incidence of cancers caused by exposure to radioactivity in England, and the impact it had on Anglo-American relations. The author also showcases the differences between English and American cultures.
In this chapter, the author discusses the cultural life in Rochester, New York, in the 1920s. The city of the 1920s is often referred to as 'Mr Eastman's town'. Economically, the first three decades of the twentieth century had been described as Rochester's golden age, and the centrality of Eastman-Kodak to the city's prosperity had important cultural consequences. The establishment by George Eastman of the Eastman School of Music and the Eastman Theatre in 1922 was the single most important event marking the 'end of provincialism'. The 'Rochester Renaissance' owed a lot to Eastman's wealth and philanthropy .
In this chapter, the author explains the internment of aliens in Britain during the Second World War. The 'internment of aliens' is a peculiar and rather hysterical measure taken by the British government after Dunkirk. The author describes his father as an alien. He is alien to Britain and to English culture. He came to Britain from Germany in February 1938, was a class C 'enemy alien' (recognised as a genuine refugee, and officially designated a 'friendly' enemy alien). The classifications were made by wartime tribunals set up in Britain in 1939.