Yugoslavia Pavilion for the Paris Expo, Josip Seissel (1937)
EMPIRE LINES20 Touko 2021

Yugoslavia Pavilion for the Paris Expo, Josip Seissel (1937)

Dr. Aleksandra Stamenkovic constructs the struggle to unify post-imperial South Slavic identities, through Josip Seissel’s Yugoslavia Pavilion for the Paris Expo in 1937.

The collapse of the Ottoman and Austro-Hungarian Empires in the First World War birthed a new European state – the Kingdom of Yugoslavia. National pavilions at international exhibitions, or Expos, became vital platforms to project the state’s internal unity and external strength on the global stage. Yugoslavia’s prize-winning pavilion for the Paris Expo in 1937 fused contemporary European and classical aesthetics, projecting a progressively modern culture steeped in diverse, Slavic histories. But it was also an identity-construction site, exposing elites’ struggle to create a new, unified, post-imperial identity.

PRESENTER: Dr. Aleksandra Stamenkovic, Belgrade-based art historian and independent researcher. She specialises in contemporary Serbian and European architectural history.

ART: Yugoslavia Pavilion for the Paris Expo, Josip Seissel (1937).

IMAGE: ‘International Exposition dedicated to Art and Technology in Modern Life, Yugoslavia Pavilion’.

SOUNDS: Paniks.

PRODUCER: Jelena Sofronijevic.


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