Otto Charles Bänninger’s “Boy with a Horse” (Knabe mit Pferd) at the national exhibition, which took place in 1939 in Zurich.
Swiss National Museum

MANY FAMOUS ARTISTS

The spiritual defence of the nation concept had a huge influence on the national exhibition. The fact that Swiss values were so well celebrated at the event was due both to the timing of the exhibition and to developments in trade, commerce and industry at that time. The suggested motto “quality and work” was met with a lukewarm response. Thus, the focus shifted increasingly towards creating an identity experience for people from all walks of life and political groups – and towards promoting local artists, who received important commissions from the exhibition. Among them were well-known names such as Alois Carigiet, Hans Erni and Otto Charles Bänninger. The Federal Council’s cultural message thus already began to have an effect soon after it was published.

ENTERTAINMENT AND INNOVATION

However, it would be unfair to attribute the exhibition’s success solely to the politically tense moment in history. Numerous attractions – such as a cable car that ran from one shore of Lake Zurich to the other, the Landidörfli country village and the Schifflibach boat ride through the exhibition grounds – drew many visitors and offered plenty of entertainment. The national exhibition in Zurich had something for everyone. While the women looked at the latest fashion trends, the children listened to a 19-year-old woman telling fairy tales in a nursery. Soon it was not just children who came to listen, and young Trudi Gerster became the queen of Swiss fairy tales practically overnight. Sport was also featured at the exhibition. In May 1939, a top-class junior football tournament was held with teams from Czechoslovakia, France, Italy and Switzerland. And at the exhibition’s Swiss wrestling competition, the “bad guys” got to show off their muscles.

In additional to varied entertainment, new architecture was also introduced in Zurich. The involved architects created buildings that were primarily functional and practical. This was the origin of the so-called “Landistil”, which was popular until the 1950s. An example of this is the Zurich Kongresshaus by Max Ernst Haefeli.

Even though both Landistil and the exhibition itself were later the subject of controversial discussion, the national exhibition of 1939 is still regarded as a successful and innovative show and is firmly etched in Switzerland’s collective memory.

Sarah Rindlisbacher Thomi

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