Show and Exhibition

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Show and Exhibition as a General or Artistic or trade fair (trade show, trade exhibition, or trade exposition) is an exhibition organized so that companies in a specific industry can showcase and demonstrate their latest products and services, meet with industry partners and customers, study activities of rivals, and examine recent market trends and opportunities as a solo exhibition, collective exhibition, or online exhibition.
An exhibition, in the most general sense, is an organized presentation and display of a selection of items. In practice, exhibitions usually occur within a cultural or educational setting such as a museum, art gallery, park, library, exhibition hall, or World’s fairs.
show is display, exhibit ( US), exhibition ( UK ), expose, exposition and parade.

Online Show, Exhibition up to 111093 Events at:

Online Events | Upcoming Virtual Events …

Top 10 Virtual Trade Show Platforms at:

As virtual meetings and conferences become more common, we can only assume that online trade shows are next. Although they’re more complicated to transition online, there is existing tech to assist. Here are 10 tools for organizing virtual trade shows.

Virtual Trade Shows – EXHIBITOR magazine › topics › article
Virtual trade shows have come a long way in the past five years. Today, they’re more widely accepted as valid marketing tools, and their speed and interactivity have kept pace with typical Web applications. For example, chat and real-time interaction with speakers is common now; whereas, these opportunities were practically unheard of when virtual shows first became part of the event-marketer’s arsenal.


virtual tradeshow (or a virtual trade fair) : From Wikipedia
is a type of virtual event run in an online environment, that is hosted online for a limited period of time. It can be considered the online equivalent of a traditional tradeshow or exhibition, but exhibitors and visitors connect with one another on the web, rather than in person.

Virtual tradeshows : From Wikipedia, can be accessed anywhere, as they are not limited by their geographic location, so all that’s needed to attend is a device with a good connection to the internet. Virtual tradeshows facilitate direct interactions between exhibitors and attendees with interactive features, such as live chat, chat rooms, 1 to 1 or group video calls, Q&A, Live webinars or on-demand webinars, webcasts, lucky draws, and more.


The struc­ture of a typ­i­cal vir­tual tradeshow often in­cludes a vir­tual ex­hi­bi­tion hall which users enter with spe­cific per­mis­sions and ca­pa­bil­i­ties. Ex­hibitors can build vir­tual booths to ex­hibit in­for­ma­tion re­lated to their prod­ucts or ser­vices, just as they would at a trade fair in a con­ven­tion cen­ter; vis­i­tors view these vir­tual trade show dis­plays in the ex­hi­bi­tion hall. Users – both ex­hibitors and vis­i­tors – within the en­vi­ron­ment often cre­ate avatars as a vi­sual rep­re­sen­ta­tion of themselves.

Like their phys­i­cal coun­ter­parts, vir­tual tradeshows may have other com­po­nents such as a web con­fer­ence, we­b­cast, web sem­i­nar (‘we­bi­nar’), or other ed­u­ca­tional pre­sen­ta­tions. The vir­tual trade fair thus pro­vides live in­ter­ac­tion, be­tween users, on sev­eral lev­els (one-to-one, one-to-few, one-to-many and many-to-many) and si­mul­ta­ne­ously. De­tailed track­ing mech­a­nisms allow or­gan­is­ers to de­ter­mine the flow of traf­fic in the vir­tual tradeshow. Al­though vir­tual tradeshows are usu­ally con­ducted in spe­cialised web en­vi­ron­ments, some have been or­gan­ised and con­ducted in tightly con­trolled text based en­vi­ron­ments.

Vir­tual tradeshows can be used for in­ter­na­tional tradeshows, busi­ness match-mak­ers, pro­cure­ment fairs, or prod­uct launches. The ex­pe­ri­ence also trans­lates well for other ap­pli­ca­tions such as vir­tual job fairs, vir­tual ben­e­fits fairs, on­line em­ployee net­works, dis­trib­u­tor fairs, and ven­ture cap­i­tal fairs.

Providers of vir­tual event plat­forms have seen im­mense growth in the de­mand for their prod­ucts partly at­trib­ut­able to the 2009-2010 re­ces­sion dri­ving cost-cut­ting ap­proaches to busi­ness. Ac­cord­ing to a Cham­pion Ex­po­si­tion Ser­vices study, one in four peo­ple planned to use a dig­i­tal event plat­form in the as­so­ci­a­tion mar­ket. The study also found that 70% of “re­spon­dents are ac­tively pro­duc­ing, con­sid­er­ing or in­ter­ested in pur­su­ing vir­tual events.” How­ever, many were not look­ing to re­place phys­i­cal events, but en­hance them with in­ter­ac­tive vir­tual fea­tures.

Visitor facilities

Vis­i­tors to a vir­tual tradeshow usu­ally fill out an on­line reg­is­tra­tion form to cre­ate an on­line badge and then enter a vir­tual ex­hibit hall to visit vir­tual booths. The vir­tual booths often re­flect the im­agery of a real-world tradeshow booth with desks and dis­plays (this sim­i­lar­ity helps users re­late to them more eas­ily). A vir­tual booth typ­i­cally has sev­eral icons which can trig­ger dif­fer­ent re­sponses upon the click of the mouse. For ex­am­ple, vis­i­tors might ini­ti­ate in­stant com­mu­ni­ca­tion with the ex­hibitor via an in­stant mes­sage, email or a voice call. Icons might also de­liver mul­ti­me­dia such as videos and audio mes­sages or other slide-show pre­sen­ta­tions.

Exhibitor facilities

Vir­tual ex­hibitors use on­line tools to up­load rel­e­vant and tai­lored con­tent to ap­peal to the au­di­ences. Vir­tual ex­hibits may be made to look like an ex­hibitors’ real-world booth in any in-per­son trade fair where they may be exhibiting.

While some events are hosted only on­line, vir­tual tradeshows could also be run in con­junc­tion with real-world or in-per­son tradeshows, cre­at­ing ‘hy­brid events‘.

Vir­tual tradeshows typ­i­cally cost much less than tra­di­tional trade shows. Since vir­tual trade shows can be con­ducted from a per­son’s desk, the cost of travel, lodg­ing and phys­i­cal con­struc­tion of a trade show dis­play is elim­i­nated (ex­hibitors will usu­ally, of course, be charged for the priv­i­lege of hav­ing an on­line stand at the vir­tual tradeshow).


A ( World Exhibition ) or Expo or ( world’s fair ) is a large international exhibition designed to showcase the achievements of nations. These exhibitions vary in character and are held in different parts of the world at a specific site for a period of time, ranging usually from three to six months. The term “world’s fair” is typically used in the United States.
see List of world expositions.

World Expos are also massive in scale, sometimes 300 or 400 hectares in size (Montreal’s Expo 67 was 410 hectares, Osaka’s Expo 70 was 330 hectares, Seville’s Expo ’92 was 215 hectares, and Shanghai’s Expo 2010, 528 hectares). Pavilions participating at a World Expo can also be large, sometimes 5,000 to 10,000 square meters in size, mini-city blocks in themselves, and sometimes more than several stories in height. (The Australia Pavilion for Shanghai 2010 was 5,000 square meters, the British Pavilion sat on a 6,000 square meters lot, as did the Canadian Pavilion. The flagship Chinese National Pavilion had 20,000 square meters of exhibition space.)

World Expos have been known to average 200,000 persons per day of visitors – or more – and some 50 to 70 million visitors during their six-month duration. Montreal’s Expo 67 attracted 54 million visitors, Osaka‘s Expo ’70, 64 million visitors, the Seville Expo ’92, 41 million visitors, and Shanghai’s Expo 2010 attracted 70 million visitors. As a result, transport and other infrastructure at a Registered Exposition is an important concern (Seville’s World Expo of 1992 boasted cable carmonorail, boat, and bus), and the overall cost for hosting and being represented at a World Expos is quite high, from 10 billion to 100 billion dollars compared to the smaller-scale Specialised Expos.


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Dubai is an amazing place, and I highly recommend that you go one time in your life. But it’s a giant mega city in the middle east, so where do you start? I’ll show you around everything that’s cool in Dubai, such as the Burj Khalifa, the Burj Al Arab, the Dubai Mail, SkiDubai, Skydive Dubai, Dubai Marina, the Dubai Frame, the Mall of the Emirates, the beaches, Dubai Creek, the Souks and much more!


Expo 2020 From Wikipedia +

Expo 2020 (Arabic: إكسبو 2020‎) is a World Expo, hosted by Dubai in the United Arab Emirates from 1 October 2021 to 31 March 2022. Originally scheduled for 20 October 2020 to 10 April 2021, it was postponed due to the COVID-19 pandemic.

The main site of Expo 2020 Dubai is a 438-hectare area (1083 acres) located between the cities of Dubai and Abu Dhabi, near Dubai‘s southern border with Abu Dhabi

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Expo 2020 Dubai will host the world for 182 days, each one brimming with new experiences. It’ll be a time to create, collaborate and innovate.‎Understanding Expo · ‎Expo 2020 Dubai · ‎After Expo 2020 · ‎Visiting Expo site
Expo 2020 – Wikipedia › wiki › Expo_2020
Expo 2020 (Arabic: إكسبو 2020‎) is a World Expo, currently hosted by Dubai in the United Arab Emirates from 1 October 2021 to 31 March 2022.Countries: 192Venue: Dubai Exhibition Centre, Dubai, United …Country: United Arab Emirates

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The official website of Canada’s participation at Expo 2020 … › …

Promoting Canadian know-how at Expo 2020 Dubai is the perfect example of how our government is opening doors for Canadian companies of all sizes to compete and …

Expo 2020 Dubai | Discover Dubai | Emirates Canada › english › expo-2020

Each day of the 182 days of Expo 2020 Dubai is filled with new experiences that showcase the best the world has to offer. Flavours, cutting‑edge technology, …
Scenes from Dubai’s Expo 2020 | CBC News › news › world › dubai-expo-2020-…

Oct. 1, 2021 — Scenes from Dubai’s Expo 2020 · Social Sharing · World’s fair runs until March 31, 2022, featuring pavilions from 192 nations · Opening ceremony …


List of world’s fairs from:
This is a list of international and colonial world’s fairs, as well as a list of national exhibitions, a comprehensive chronological list of world’s fairs (with notable permanent buildings built). For an annotated list of all world’s fairs sanctioned by the Bureau International des Expositions (BIE), see List of world expositions. Continue reading:


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Image of Expo 2020 logo

Expo 2020 logo



Queen Victoria opens the Great Exhibition in The Crystal Palace in Hyde Park, London, in 1851.

Queen Victoria opens the Great Exhibition in The Crystal Palace in Hyde ParkLondon, in 1851.

Poster advertising the Brussels International Exposition in 1897
Poster advertising the Brussels International Exposition in 1897

Poster for the 1900 expo

Poster for the 1900 expo

Poster for the 1933 Chicago World's Fair by Glen C. Sheffer

Poster for the 1933 Chicago World’s Fair by Glen C. Sheffer

The Unisphere, from the 1964 World's Fair in New York City, USA in the early 21st century

The Unisphere, from the 1964 World’s Fair in New York City, USA in the early 21st century

Queen Victoria opens the Great Exhibition in The Crystal Palace in Hyde Park, London, in 1851.

Queen Victoria opens the Great Exhibition in The Crystal Palace in Hyde ParkLondon, in 1851.

The Crystal palace effectThe Crystal palace effect
There comes the importance of showing, seeing and being seen. Using a light glass architecture allowed every visitor to observe the king’s holdings. From the outside, everyone was able to watch unknown and mesmerizing plants grow. 

Opening Ceremony at the Crystal Palace (Image) | Expositions, where the  modern technology of the times was exhibited.
Examining the Crystal Palace and Other Cultural Artifacts of the World’s Fairs
Radical designs that still hold cultural relevance today

The Crystal Palace at Sydenham Hill. Designed by Joesph Paxton, the building was originally located at Hyde Park, London to house the Great Exhibition of 1851. (Photo courtesy of The Keasbury-Gordon Photograph Archive / Alamy)

Innovative. Transcendent. Powerful. Exciting. These were the words used by those who feasted their eyes on the Crystal Palace that housed the Great Exhibition of 1851, as well as other significant cultural artifacts of the world’s fairs such as the Eiffel Tower. Although many of these artifacts and structures are iconic landmarks today, they were meant to embody a sense of progression and advancement. These cultural artifacts articulated the aims and values that the world’s fairs intended to seek in its visitors. While not all critics agreed, these structures at the world’s fairs signified cultural and artistic achievement through their avant-garde and radical values.

14×10 inch lithograph by Nathaniel Currier entitled “The Magnificent Building, For the World’s Fair of 1851; Built of Iron and Glass, in Hyde Park, London”. (Photo courtesy of D’Amour Museum of Fine Arts)

Held in Hyde Park, London in 1851, the Great Exhibition was the first world’s fair organized to display exhibitions of culture and industry that were new during this time of the nineteenth century. The Great Exhibition helped influence future concepts that would arise in the twentieth-century such as new art forms, cultural exchange and tourism. Organized by Queen Victoria’s husband Prince Albert and other members of the Royal Society of Arts, the Great Exhibition exhibited achievements from countries worldwide and highlighted Britain’s superiority in the modern world through technological advancements. Among them was The Crystal Palace, an innovative structure made of cast-iron and plate-grass that provided 990,0000-square-foot of exhibition space. The Crystal Palace was a symbol of British pride. “If you were a visitor to London at the turn of the twentieth-century, the Crystal Palace would have been at the top of your tourist bucket list as one of the city’s iconic landmarks that held the same prestige as the Tower of London or Buckingham Palace still hold to this day,” says writer Allison McNearney in an article entitled The Glorious Birth and Blazing End of London’s Crystal Palace. Prince Albert felt that it was only right for the exhibition to be held in a brand new state-of-the-art building that would allow visitors to truly recieve a captivating experience in viewing the progressive exhibits that housed over 100,000 objects stretching more than ten miles long.

The Exhibition’s Entrance and centenary tree. (Dickinson’s Comprehensive Pictures of The Great Exhibition of 1851, London, Her Majesty’s Publishers, 1854)
Main gallery of the Crystal Palace during the 1851 World’s Fair. (Dickinson’s Comprehensive Pictures of The Great Exhibition of 1851, London, Her Majesty’s Publishers, 1854)

Designed by Joseph Paxton, an architect and gardener, the Crystal Palace was constructed over a period of five months. The building introduced brand new developments in architecture, construction and design to the public eye; coinciding with the aims and values of the Great Exhibition and world’s fairs whose sole purpose was to introduce new advancements developed by the different nations of the world to unite state-of-the-art science and technology. The Crystal Palace defined what it meant for a building to be state-of-the-art through its luxurious interior and uniquely shaped façade. Having already experimented with glasshouse construction, Paxton introduced a combination of prefabricated cast iron, laminated wood and standard sized glass sheets to create the buildings unique “ridge-and-furrow” roof design, similarly to the greenhouse he constructed at the Chatsworth house in Derbyshire, England in 1837. “This most radically translucent–and simultaneously stubbornly opaque–of nineteenth-century constructions may well have been our modernity’s most unsurpassable artifact,” writes art historian Donald Preziosi in his lecture article Brain of the Earth’s Body — Art, Museums, and the Phantasms of Modernity. Preziosi describes the Crystal Palace as a “mighty plan” and alludes to the fact that the Crystal Palace, as well as the Great Exhibition of 1851, influenced the “styleless” system that would be present across Europe and the “European-dominated and influenced world” of the nineteenth century through various other exhibitions to follow; including future museums and city-plans. With the Crystal Palace providing the template for modernity, the Great Exhibition would succeed in presenting itself as a place to view modern art, technology and culture at the same location and time. Drawing over six million visitors, the Great Exhibition proved a success with the power of the exhibition lying in the engineering of the building.

Floor plan of the Great Exhibition/Crystal Palace (Photo courtesy of Wikipedia Commons)

The Crystal Palace was art itself with its ingenious design that created an unprecedented exhibition space and helped shape the art of engineering throughout the nineteenth century. “The method of construction was a breakthrough in technology and design, and paved the way for more sophisticated pre-fabricated design,” writes architect and journalist Gili Merin in an article entitled AD Classics: The Crystal Palace/Joseph Paxton. Paxton paved the way for other architects and engineers to help bring forth the ideas and values of modernity and advancement of the World’s Fairs to future exhibitions that followed. Thus too, art and technology progressed from its conventional forms, creating new movements and progressions that allowed world’s fairs visitors to dwell into the beauty and modernity the fairs had to offer. The International Exposition of 1867 in Paris brought forth revolutionary artists such as Edouard Manet and Gustave Courbet who challenged academic convention and helped birth modern art. The two painters would also become key components in bridging the gap between Realism and Impressionism. Twenty years later, the Exposition Universelle of 1889 in Paris saw the rise of another innovative structure — the Eiffel Tower.

The Eiffel Tower in Paris, France. (istock)

The Eiffel Tower was the major symbol of the 1889 Exposition and was designed to flourish in the new modernist world of sculpturing and engineering, a world that no longer confined art to strictly paintings. Designed by French civil engineer Gustave Eiffel, the tower was among the projects in the arts supported by the Third Republic of France. “This government sought out such works as agents in helping people to meet the demands of the modern age both actually and metaphysically — the Eiffel Tower was thus meant to serve as an example of harmony in both art and society,” writes American historian Shelley Cordulack in her article A Franco-American Battle of Beams: Electricity and the Selling of Modernity. Unlike the Crystal Palace which received a positive reception and appraise from notables such as Queen Victoria, the Eiffel Tower outraged some of the many big names in art and literature at the time including architect Charles Garnier and composer Charles Gounoud. Both Frenchmen viewed the tower as “useless” and argued that the tower humiliated the classic monuments and architecture Paris had to offer. “For my part I believe that the tower will possess its own beauty,” argued Eiffel in an interview for the newspaper Le Temps in 1887. “Are we to believe that because one is an engineer, one is not preoccupied by beauty in one’s constructions, or that one does not seek to create elegance as well as solidity and durability.” Eiffel’s words helped emphasize the aims and values that the world’s fairs embodied — a sense of transcendentalism and the framing of many aspects of modern life. For once art did not rely on the foundations of traditional design nor was it limited to what meaning it could have. During this time, artists such as Vincent van Gough and Auguste Rodin would give art a new voice and by the Exposition Universelle of 1900 in Paris more technological advancements would be presented through the developments of the Ferris wheel, diesel engines, talking films, escalators and the telegraphone.

The Eiffel Tower under construction in July 1888. (Roger Viollet/Getty Images)

The construction of the Crystal Palace and the Eiffel Tower, both exposition symbols in their own right, christened the birth of a new modernist artistic age. By pushing boundaries and going against the norms of society, this new avant-garde approach in the fields of art, science and technology revolutionized the modern world and allowed the world’s fairs to showcase each cultural and artistic achievement. Acting as the precursor to the modern museum, the world’s fairs were beyond their time and cemented their legacy as symbols of progression and advancement.

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Exposition universelle in Paris, 1867

Exposition universelle in Paris, 1867

Expo 2000 brickwork, for the World Expo in Hannover, Germany in the year 2000.

Expo 2000 brickwork, for the World Expo in Hannover, Germany in the year 2000.

ASIMO at Expo 2005 in Japan.

ASIMO at Expo 2005 in Japan.

Panoramic view of Expo 2012 Yeosu, in South Korea

Panoramic view of Expo 2012 Yeosu, in South Korea


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