The first monograph of the Czechoslovak Pavilion at Expo 67 was published on the occasion of the exhibition of the same name in Cheb. In it, Martin Bernátek, Vladimíra Büngerová, Daniela Kramerová, Henrieta Moravčíková, Terezie Nekvindová, Martin Strakoš and Marta Sylvestrová focus on a critical evaluation of the Czechoslovak participation in terms of exhibition design, architecture, audiovisual exhibits and Czech-Slovak relations.

The 1967 World Exhibition in Montreal was the second of a trio of post-war presentations of Czechoslovakia at world exhibitions and followed the initiating moment of Expo 58 in Brussels. Expo 67, a specific format between art, architecture and artistic craft, foreshadows the present-day form of exhibition operations by its internationalization, spectacularity, mass appeal and strong anchoring in the political, economic and social background. The name Exhibition Vending Machine evokes the distinctive attraction of the Czechoslovak pavilion, the interactive cinema Kinoautomat, as well as the contemporary belief in automation as a symbol of the modern world. Above all, however, it serves as a metaphor for the situation in which our Montreal participation was created: at the time, Expo 67 became a kind of benchmark in Czechoslovakia for the quality of exhibition displays, but it was also a sign of a routine approach leading to dilution.

380 CZK

Automat na výstavu. Československý pavilon na Expo 67 v Montrealu (Exhibition Vending Machine. Czechoslovak Pavilion at Expo 67 in Montreal)