Facing Hitler’s Pavilion: The Uses of Modernity in the Soviet Pavilion at the 1937 Paris International Exhibition

@article{UdovikiSelb2012FacingHP,
  title={Facing Hitler’s Pavilion: The Uses of Modernity in the Soviet Pavilion at the 1937 Paris International Exhibition},
  author={Danilo François Udovi{\vc}ki-Selb},
  journal={Journal of Contemporary History},
  year={2012},
  volume={47},
  pages={13 - 47}
}
Overwhelming the Trocadéro’s majestic esplanade, the Soviet and German pavilions faced each other in a commanding gesture across the central axis of the Paris ‘Exposition des arts et des techniques dans la vie moderne’ – the last French World’s Expo in the twentieth century. More often than not, the two pavilions have been dismissed in architectural terms as having merely ‘competed in archeological rhetoric’. In this article I argue, with a primary focus on the Soviet Pavilion, that far from… 
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See in particular Viktor Sˇklovskij's writings on the concept of 'excess of meaning' revealed in the assembly of seemingly incongrous everyday materials or objects
    See Stalin's account on the conversation he had in 1929 with an American businessman known only as Mr. Campbell, a semi-official envoy of the US government
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    After the war, It was renamed 'Avenue de
      Far from forgotten, the statue was recently the object of an exhibition at the Sˇcˇusev Museum of Architecture in Moscow. Despite all the turmoil of the past seventy years
        The mural is today part of the Paris Modern Art Museum built for the 1937 Fair