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This article investigates the emergence of the Copenhagen slaughterhouse, called the Meat City, during the late nineteenth century. This slaughterhouse was a product of a number of heterogeneous components: industrialization and new infrastructures were important, but hygiene and the significance of Danish bacon exports also played a key role. In the Meat City, this created a distinction between rising production and consumption on the one hand, and the isolation and closure of the slaughtering facility on the other. This friction mirrored an ambivalent attitude towards meat in the urban space: one where consumers demanded more meat than ever before, while animals were being removed from the public eye. These contradictions, it is argued, illustrate and underline the change of the city towards a ‘post-domestic’ culture. The article employs a variety of sources, but primarily the Copenhagen Municipal Archives for regulation of meat provision.
This article proposes a biographical approach to the study of anarchist activism, applied to the French journalist, editor, theorist, novelist, educator, and campaigner Jean Grave, one of the most influential figures in the French and international anarchist movement between the late 1870s and World War I. Adopting a relational approach delineating Grave’s formal and informal connections, it focuses on the role of print in Grave’s activism, through the three papers he edited between 1883 and 1914, and highlights his transnational connections and links with progressive circles in France. Due to the central place of both Grave and his publications in the French anarchist movement, this biographical and relational approach provides a basis to reassess the functioning and key strategic orientations of French anarchist communism during its “heroic period” (1870s–1914), by stressing its transnational ramifications and links beyond the anarchist movement.
The 1952 MoMA exhibition Olivetti: Design in Industry has come to mark the moment when the established art world recognized the cultural legitimacy of mass-produced goods. This article contests such an interpretation by showing how the exhibition was organised and paid for by the Olivetti company. This enables a comparative analysis of the MoMA exhibition with a second New York space, the Olivetti showroom. Located on Fifth Ave, less than a half kilometre from the museum, the Olivetti showroom sold the company’s products to the same American public. The article concludes that the MoMA exhibition and the New York Olivetti showroom must be understood together as a clever case of corporate marketing.