{"id":26715,"title":"Palais du Congo Belge Guide Officiel. Exposition Internationale Coloniale, Maritime et d'Art Flamand, Anvers 1930","dimensions":"13,3 x 20,2 x 0,9 cm","date_begin":"1930-01-01","material":"","art_status_id":13,"legal_status_id":47,"category_id":26,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection MHKA, Antwerp","cached_tag_list":"Monoculture Universal Exhibitions Colonialism","publishing_process_id":1,"annotation":"\u003cp\u003eGuide book for the \u003cem\u003eInternational Colonial, Maritime and Flemish Art Exposition\u003c/em\u003e, Antwerp 1930.\u003c/p\u003e\r\n","date_end":null,"reference":"","stream_count_app":14,"permalink":"palais-du-congo-belge-guide-officiel-exposition-internationale-coloniale-maritime-et-d-art-flamand-anvers-1930","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/060/819/medium_500/Image00009.jpg?1598360216","cached_actor_names":"","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":true,"category":{"en":"Book","nl":"Boek","fr":"Livre"},"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/060/819/large/Image00009.jpg?1598360216","poster_credits":"scan: (c) M HKA","translations":[{"locale":"en","short_description":"","description":"\u003cp style=\"margin-left: 40px;\"\u003e\u0026ldquo;Antwerp, with its powerful and ever expanding port. Antwerp, whose population was the first to understand and support all of Leopold II\u0026#39;s bold colonial plans. Antwerp, whose shipping lines connect our colony to the Motherland...\u0026rdquo;\u003c/p\u003e\r\n\r\n\u003cp\u003eOpening speech on 28 April 1930 by Alfred Martougin, Chairman of the Executive Committee of the \u003cem\u003eInternational Exhibition: Colonial, Maritime and Flemish Art\u003c/em\u003e.\u003c/p\u003e\r\n\r\n\u003cp\u003eIn 1930, after 1885 and 1894, Antwerp organised a world exhibition. It would be the third and last time. As 1930 coincided with the celebration of Belgium\u0026#39;s centenary, several cities had applied. The government decided to hold the exhibition at two locations simultaneously: Liege and Antwerp. Thematically, a division was made between industry and science in Liege; and trade and colonies in Antwerp. However, the Bureau of International Expositions didn\u0026#39;t recognise the double exhibition as a world exposition. For Antwerp, the \u003cem\u003eInternational Exhibition: Colonial, Maritime and Flemish Art\u003c/em\u003e was very important. In addition to city marketing, urban expansion \u0026ndash; a fully new city section was created between Berchem and the Scheldt, today called the Tentoonstellingswijk (Exhibition District) \u0026ndash; as well as major\u0026nbsp;infrastructure works (including the construction of the Waasland Tunnel), the exhibition looked to turn Antwerp into a metropolis for the future. The city itself built two bridges over the Kielsevest and two exhibition buildings, which were subsequently converted into the Christ the King Church on the one hand, and a school (in the Pestalozzi Street) on the other. In these buildings a retrospective of old Flemish art took place \u0026ndash; probably the largest ever held. Unlike in 1885 and 1894, the 1930 exhibition did not feature a Congolese village. However, there was another attraction: visitors were able to view a commercially operated \u0026#39;negro village\u0026#39;. The colonial government wanted to focus on Belgian achievements in mining and agriculture in Congo; on an extensive collection of sculptures, masks and utensils; and on Catholic missions. The monumental \u0026#39;Congo Palace\u0026#39;, especially built for this purpose, acquired an oriental, \u0026#39;Eastern\u0026#39; character, because the designers believed that black Africa had no architecture of its own.\u003c/p\u003e\r\n"},{"locale":"nl","short_description":"","description":"\u003cp style=\"margin-left: 40px;\"\u003e\u0026ldquo;Antwerpen met zijn machtige en zich steeds uitbreidende haven. Antwerpen, waarvan de bevolking eerst van al de stoutmoedige koloniale plannen van Leopold II begreep en steunde. Antwerpen wier scheepvaartlijnen onze kolonie verbinden met het moederland...\u0026rdquo;\u003c/p\u003e\r\n\r\n\u003cp\u003e- Openingstoespraak op 28.04.1930 van Alfred Martougin, voorzitter van het Uitvoerend Comit\u0026eacute; van de \u003cem\u003eExposition internationale coloniale, maritime et d\u0026#39;art flamand\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003eNa 1885 en 1894 organiseerde Antwerpen in 1930 voor de derde en voorlopig laatste keer een wereldtentoonstelling. Omdat ze samenviel met de viering van het honderdjarig bestaan van Belgi\u0026euml; hadden verschillende steden zich kandidaat gesteld en besliste de regering om de tentoonstelling gelijktijdig op twee locaties te laten doorgaan: Luik en Antwerpen. Er werd\u0026nbsp;een thematische opdeling gemaakt tussen industrie en wetenschappen in Luik, en handel en kolonies in Antwerpen. De dubbeltentoonstelling werd echter niet als wereldtentoonstelling erkend door het Bureau International des Expositions. Voor de stad was de \u003cem\u003eExposition internationale coloniale, maritime et d\u0026#39;art flamand\u003c/em\u003e (Wereldtentoonstelling voor koloni\u0026euml;n, zeevaart en Vlaamse kunst) van groot belang. Naast de citymarketing moesten de stadsuitbreiding \u0026ndash; er werd een heel nieuw stadgedeelte gecre\u0026euml;erd tussen Berchem en de Schelde dat nu de Tentoonstellingswijk heet \u0026ndash; en de grote infrastructuurwerken \u0026ndash; met onder andere de bouw van de Waaslandtunnel \u0026ndash; van Antwerpen een metropool maken voor de toekomst.\u003c/p\u003e\r\n\r\n\u003cp\u003eDe stad bouwde zelf twee bruggen over de Kielsevest en twee tentoonstellingsgebouwen, die nadien werden omgebouwd tot enerzijds de Christus-Koningkerk en anderzijds de school van de Pestalozzistraat. In deze gebouwen vond waarschijnlijk de grootse overzichtstentoonstelling van oude Vlaamse kunst ooit plaats. In tegenstelling tot in 1885 en 1894 was op de tentoonstelling van 1930 geen Congolees dorp te zien. Toch konden bezoekers er een commercieel uitgebaat \u0026lsquo;negerdorp\u0026rsquo; als attractie bezichtigen. De koloniale overheid wilde de focus leggen op de Belgische verwezenlijkingen in mijn- en landbouw in Congo; op een uitgebreide verzameling sculpturen, maskers en gebruiksvoorwerpen; en op de katholieke missies. Het monumentale \u0026lsquo;Kongopaleis\u0026rsquo; dat hiervoor werd opgericht kreeg een ori\u0026euml;ntalistisch, \u0026lsquo;Oosters\u0026rsquo; karakter, omdat de ontwerpers meenden dat zwart Afrika geen eigen architectuur kende.\u003c/p\u003e\r\n"},{"locale":"fr","short_description":"","description":""},{"locale":"ru","short_description":"","description":""},{"locale":"de","short_description":"","description":""},{"locale":"es","short_description":"","description":""},{"locale":"el","short_description":"","description":""}],"actors":[]}