
Exhibition taking place about history of Exeter's paper mills
An exhibition about the history of Exeter's paper mills is taking place in the city. It is the result of a research project into the city's past links to the industry and showcases artwork and information. A team of 15 researchers visited former mill sites in Exeter and talked to residents, descendants of mill owners and former paper mill workers. Emma Molony, project manager of the organisation behind the exhibition, said the artwork provided an "imaginative and immersive way" for people to "envisage this incredible part of Exeter's history."
One of the works on display at the exhibition on Sidwell Street is called Vestigia.It is created with paper embossed linocuts by artist Juliette Losq. She said: "I am interested in exploring the papermaking landscape by reinterpreting fragments of the milling process which have been left as traces. "Based on recommendations and routes mapped out by the project volunteers, I walked paths that passed beside or through several former mill sites." The second part of the installation is called Paper Heron, and is a fictional sound story by author Ellen Wiles.People can listen to the story at the exhibition, and it explores the world of papermaking in Exeter in the mid-19th Century. Ms Wiles said: "I learned a lot from the research avenues that the volunteers chose to pursue and spent time in archives myself, particularly The Devon and Exeter Institution and the Devon Heritage Centre, and I read copious books and articles about the history of papermaking, particularly relating to women, and the Great Exhibition."The exhibition runs until 15 February at Positive Light Projects in the city.
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- Scottish Sun
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- Telegraph
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The New York World's Fair of 1964 was never officially recognised by the BIE, after some disastrous negotiations by Robert Moses, the city's all-powerful planner, who dismissed them as 'a bunch of clowns in Paris'. As a result of the BIE's snub, only six countries participated that year, the fair being dominated instead by domestic corporations. IBM's 'egg' was designed by the superstar architect Eero Saarinen and his design friends Charles and Ray Eames, who also provided an innovative 3D film experience shown on numerous oddly shaped screens: half funfair, half spy-movie brainwashing booth. Whether or not it had the official imprimatur, it was the very epitome of a mid-century Expo. Osaka's most recent Expo was in 1970, when it had a psychedelic hangover-from-the-1960s Yellow Submarine vibe. (A spherical concert hall inspired by the experimental music of Karlheinz Stockhausen? West Germany, take a bow.) But what of its 2025 extravaganza? 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A kind of Las Vegas designed by school children; a place that defies logic and realism, and instead aims to be beautifully, pointlessly extraordinary. It might have begun as a form of Industrial Revolution showboating, but the modern Expo feels more Eurovision than Great Exhibition, a gloriously camp exercise in national rebranding, rather than a showcase of international subtleties. There's even an Expo museum in Shanghai, for the purpose of giving the city's old 2010 Expo buildings something to do. It's a retirement home for Expos, those mayflies of the global village. Let's hope that Osaka's will be one to remember. Expo 2025 runs in Osaka, Japan until October 13