The 1939 New York International Exhibition: art, architecture and politics in the failure of the "Mañana World" ; La Exposición Internacional de Nueva York de 1939: arte, arquitectura y política en el fracaso del "Mundo del Mañana"
The New York International Exhibition was opened in April 1939 with the intention of being a symbol of global peace between nations seeking to know — and to respect. To this end, the American city wanted to become the meeting place for modern nations. However, these manifestations coincided at a time when, paradoxically, there were major differences between opposing ideologies, which soon afterwards would lead to the outbreak of the Second World War. This test analyses this international event, where the most cutting-edge trends in architecture, plastic arts, sceptical arts, media, technology and leisure were mixed. It looks at the scenisation of a utopic map on which, paradoxically, forces were also measured, both in the artistic and architectural projects of the failed flags, and in the parti-cipation of the big powers. The case of the flag planned by the second Spanish Republic is examined in its context. Although the exhibition had a huge public success and focused international attention, his ideas about tomorrow's peaceful city and world would immediately fail. Art, propaganda, artistic politics and war are mixed together in the scene of the failure of utopia. ; Peer reviewed ; The New York International Exhibition was opened in April 1939 with the intention of being a symbol of global peace between nations seeking to know — and to respect. To this end, the American city wanted to become the meeting place for modern nations. However, these manifestations coincided at a time when, paradoxically, there were major differences between opposing ideologies, which soon afterwards would lead to the outbreak of the Second World War. This test analyses this international event, where the most cutting-edge trends in architecture, plastic arts, sceptical arts, media, technology and leisure were mixed. It looks at the scenisation of a utopic map on which, paradoxically, forces were also measured, both in the artistic and architectural projects of the failed flags, and in the parti-cipation of the big powers. The case ...