“WHAT A NICE WAY OF LEAVING WITH A SOUVENIR FROM . THE MODERN BUILDING CRAFT IS IN FANTASTIC, DIALOGUE THE COLLECTIONS VERY INTERESTING EVEN THE FOOD IS DELICIOUS.” – Marge. S. “GREAT FUN TO VISIT THIS , AND THAT IT IS FREE. I WILL BRING MY PALS HERE!” – Susanne from Väsby “SJIEK MUSEUM, NICE INITIATIVE WITH THE PICTURES… GREAT IT’S FREE… CULTURE SHOULDN’T COST MONEY… PEOPLE NEED IT AS MUCH AS THEY NEED FOOD AND DRINKS.” – Nele, Belgium “WONDERFUL TO SEE THAT THE “NICE ART” CAN BE PLAYED WITH. A BIG SUCCESS FOR THE MUSEUM THAT REALLY REACHES OUT TO A NEW AUDIENCE!” – J.P. Nilsson “BRUTALLY FUN!”–Janne “IN 10-15 YEARS TIME ALSO OUR 14-15 YEAR OLD CHILDREN WILL REMEMBER OUR VISIT, AT LEAST SOME PARTS OF IT!” – Carina “I CHOSE MODERN CRAFT IN DIALOGUE FOREWORD by Craft in Dialogue Published by Craft in Dialogue/IASPIS October 2005 “Design as methodology can be used for al- ing an international network based in crafts Copyright © 2005 RACA, Craft in Dialogue & authors most everything” is a mantra that is constantly and design. Craft in Dialogue always works Editorial: Craft in Dialogue and RACA repeated by adherents from the world of busi- with other participants and institutions. We Graphic design: RACA ness as well as the cultural sector. Design is chose RACA because they work precisely with to ameliorate, facilitate and solve every pos- giving visibility to that area of design that we www.raca.dk sible sort of problem. Designed objects are wanted to illuminate. In their investigations www.iaspis.com/craft seen as items that can be used privately and they make use of full-scale (1:1) design ex- practically. If they achieve sufficient cultural periments involving themselves with the pub- status they can be displayed in institutions lic as co-actors. The emphasis in their work or . But when people speak about is on finding fault-lines where their design design as methodology they sound rather can move in and problematize or improve an like a magician waving a wand or a social re- earlier situation, always with a friendly and former presenting a policy in spite of the fact humorous approach. They are not interested that we are seldom informed as to what this in producing yet another clever or beautiful ob- methodology can actually contribute. When ject. Moderna Museet was the site of their in- reference is made to design that we do not vestigation and one aspect of their collabora- know and cannot see, design that has close tion was an action based on their analysis of links with strategies, brand building, the gen- the museum from a design perspective. This eral public no longer has access to the infor- publication provides further information about mation. This is, quite simply, something that and comments on this collaborative process. is effectively intended to operate in silence. But it is also an attempt to give visibility to In spite of the fact that design penetrates the design that works in silence in branding many other fields it is seldom proclaimed as a manuals and strategic documents. tool for reflection. Instead it is used to support figures showing increased sales, exposure or We very much hope that questions about de- numbers of visitors. It is seldom subject to sign strategies, identity and consumption are critical examination. The force and potential focused and made more visible. Design in all of design is kept in closed committee rooms its forms can be used for many purposes as or in manuals of branding. This area of design is claimed by the mantra that we began with. is close to a concept of communication and The question is: what do we want design for? to marketing departments and often binds to- And if the major benefit lies in mass commu- gether complete corporations or, for that mat- nication with its culture of shopping, is there, ter, institutions. then, good reason why institutions should work more with design as a visible and reflec- Craft in Dialogue sought to create a project tive aspect of their activities? that would lend visibility to this aspect of de- sign. For almost a year the two Danish design- Craft in Dialogue ers who constitute RACA have been working Zandra Ahl & Päivi Ernkvist with Craft in Dialogue and Moderna Museet in October 2005 on a project called “Modern Craft in Dialogue”. In its current form, Craft in Dia- logue is a three-year project aimed at build- IT’S A MUSEUM – IT’S A MALL! by Filip Lau

All over the world one of the last strongholds expansion is 3% of the total museum space, Visitors to museums do not necessarily go of non-commercial spaces is under attack. while the shopping areas in the same muse- there to see art, but to get a clear mind and The museums – especially in the Western ums have been expanded by as much as 29% to benefit from a calm and aesthetic expe- world – are undergoing a commercialisation: – almost ten times the area. rience. In the cities, the museum is one of Sponsored exhibitions, ever-expanding mu- the only places you can walk around without seum shops and museums promoting them- It is no wonder that the shops are expand- somebody trying to sell you something. But selves as if they were soap powder. Good or ing. They are reeeeaaally good business. The not anymore. Here, too, shopping and com- bad? Are we just promoting art to the public shop at MoMA in New York has a turnover mercialisation is gaining ground. or are we degrading fine art by making it of approximately $160 per square meter. The consumable without friction? average American mall has a turnover of $20. Filip Lau is a sociologist and partner in the Danish inno- And there are more striking figures: revenue vation agency ReD Associates. www.redassociates.dk Museums have been undergoing a commer- from museum shops counts for as much as cialisation in recent years. In more and more 25% of the museum’s total annual revenue. Field´s shopping center, photo: RACA places exhibitions and museums are becom- They have an average profit margin of 48%. ing increasingly open to the public, but this That is 10% more than exclusive department openness has lead to more commercial com- stores. munication and priorities. The tendency is vis- ible in at least three areas: In fact, museum shops are such a success – Exhibitions are being sponsored and that the New York Metropolitan Museum of developed by commercial companies, for in- Art – The Met – has opened a chain of muse- stance ‘King Tut’ at the LACMA in Los Ange- um shops across the world. Right now there les and ‘Georg Jensen, silversmith’ at the are 31 shops in the chain, and counting. Danish National Gallery (Statens Museum for A museum shop without a museum? A lit- Kunst). tle bizarre, perhaps. Nonetheless, the trend – The launch and promotion of museums is spreading, and MoMA will also join it: and exhibitions is getting either more ‘profes- “We are looking at individual stores, virtual sional’ or more ‘commercial’ depending on stores, licenses, branding, B2B – both on a the viewer; for instance the MoMA exhibition national and international level,” says director in Berlin. Glenn Lowry of MoMA to the New York Times. – Museum shops are winning more and He believes that museums have an obligation more space in museums. For instance the to be more commercial, because that is what museum shop was part of the actual exhibi- visitors want: “We have made tremendous ef- tion when ’s Victoria & Albert Museum forts to become an open and friendly space. hosted an exhibition of the works of fashion Our success is tightly connected to our ability designer Vivienne Westwood. to develop and strengthen our relationship to Let’s take a closer look at one of the three our audience.” tendencies mentioned above. Museum shops selling postcards, coffee-table art books and But the development is not 100% positive. designer lamps have been a tremendous suc- In a world where it is hard to walk in peace cess and all over the world museum shops without being approached by billboards and are exploding – both in size and revenue. sales messages, the museum has long been In the United States, the average museum one of the last non-commercial strongholds. Moderna Museet shop, photo: RACA SOUVENIRS WANTED by Jobim Jochimsen

The urge to gather memories is inherent in one could take home one of the records that form, souvenirs encompass beauty, popularity the copy a souvenir. This also applies to the all of us. Yet few are granted the possibil- formed part of the work. There were no direct and financial value all at the same time. In an numerous design museums selling designer- ity of obtaining a souvenir. When on holiday instructions stating that it was permitted to attempt to meet consumer needs and dem- objects with no particular reference to their many of us have had to give up on purchasing take one, so spectators were left a little un- onstrate the inherent qualities of souvenirs own collections. Art museum shops do not a keepsake because the souvenirs available sure as to whether they had interpreted the the ceramist Anne Tophøj and myself formed typically sell items relating specifically to their were identical – or at least similar – to the situation correctly. Souvenix, a joint venture producing, amongst collections. ones available at home. For want of a better This leads us to the souvenirs that we have other things, souvenirs in memory of the col- alternative one can pick up a stone, but the no permission to take. In these cases our de- lection at the Danish Museum of Decorative The above examples demonstrate the many problem with this object is that it holds no sire is so strong that it overrides our normal Arts in Copenhagen. nuances and multiple expressions of the inherent memories. In accepting a randomly sense of legality, turning us into thieves who At the museum our souvenirs were pre- souvenir concept. Yet there is a lack of eas- selected stone as a souvenir, we expand the actually steal the object. I am referring of sented in flat, easily accessible displays un- ily accessible souvenirs to meet our desire concept to include everything and hence course, to those objects of desire that fea- der the heading “the shadow of good taste”. for objects that extend a given experience or nothing in particular. The words sou+venir ture logos from hotels and aeroplanes etc: Many people seized this opportunity to buy significant moment in an original and direct involve an undercurrent of memory flowing towels, ashtrays, cutlery and such. How many a memento. Since the museum itself also manner. through the object. A souvenir must be uni- of us possess these kinds of objects? Flem- purchased a selection these souvenirs are In spite of the presence of both a need and que, it must be characteristic of the place ming Balvig, a criminologist at the University now part of the collection of works repre- a market there is not just a local but a global or event of which it is intended to remind us of Copenhagen refers to theft as being benefi- sentative of that “good taste” which the mu- shortage of cheap, location-specific souvenirs. and we have to feel attracted to it. cial to society since it keeps police, insurance seum is duty-bound to collect and preserve. Here lies a great void waiting to be filled by companies etc. busy, but neither the artists’ Thus we demonstrated the positive qualities museums, souvenir shops and artists. But salesmen and manufacturers have their free give-aways nor the stolen goods have any of souvenirs which have subsequently been demands too. We all know the one-size-fits- particular retail value for the individual and lie ‘approved’ by the Danish Museum of Decora- Jobim Jochimsen all, globalized souvenirs whose most specific beyond the possibility of organized, independ- tive Arts. These souvenirs take the form of Visual artist traits are a stamp reading “Greetings from ent production. vases, bowls, etc. making them useful every- …” wherever. These souvenirs are cheap, but day objects as opposed to being merely deco- do not in themselves communicate anything At the group exhibition Transit: CPH at Charlot- rative or space-consuming. in particular and are usually destined to van- tenborg in Copenhagen, I installed a “Transit ish swiftly into oblivion. Shop” selling little works by the exhibiting At certain museums, such as the Metropoli- But souvenirs are more than merely kitsch artists. I myself had produced an 18cm high tan in , it is possible to buy finely objects. A souvenir can assume many other object “Lediggængeren” – the Idler – a figure executed copies of the greatest works in the forms. At some museums visitors can pur- which I also use in my artistic work in general. museum collections. chase merchandise referring to the works of The object is at once an individual work of art The desire to own such a copy is easily famous artists. I.e. a T-shirt with the artist and a souvenir of the Transit Shop, the exhi- aroused, but they are not purchased as me- Barbara Krüger’s statement “I shop, therefore bition and the artistic production. This work mentoes of the original experience. We want I am”. The link between the object of remem- was popularised through being exhibited in to own it like any other item. The fact that brance and the T-shirt is a very weak one. a shop-like setting. Quite a number of works the museums themselves consider these On the other hand, this type of souvenir is were sold from the “Shop”, indicating that products to be fairly ordinary items is brought both prolific and popular and hence sells in there is a market for specially-produced art home by the fact that these copies are often great numbers. At art exhibitions one may oc- souvenirs. sold from individual shops outside the mu- casionally be fortunate that the artist has gen- seum property. Hence the copies have be- erously produced a free object to take home. The demand for souvenirs is huge. Yet they come individual products in their own right. At one of Martin Erik Andersen’s exhibitions are scorned; few visual- or crafts artists take No transformation of experience into object at Galleri Susanne Ottesen in Copenhagen, them seriously. Nevertheless, in their basic has taken place, nor does the buyer consider Object made of plastic, Moderna Museet shop, photo: RACA MODERNA/MODERNA by RACA MODERNA/MODERNA – Observations through design by RACA

In the autumn of 2004, RACA was invited during which time we acted as employees of by Craft in Dialogue and Moderna Museet Moderna Museet. This was an intense period to undertake a research project at Moderna of conversations about joy, confusion, promo- Museet, using our methods of infiltration and tion and consumption. service. Our interest in the field of design lies in its application in social relations; how In the following pages we want to raise a design acts in shaping everyday situations. number of questions about the impact of de- sign and branding on an art institution and it’s Modern art museums of today serve a much relation to communicating art. The report will bigger role than just supporting knowledge and reflect on selected observations made dur- culture, acting as social spaces for events, ing the period when we worked at Moderna business meetings, family excursions, cof- Museet, using it as the framework for a case fee drinking, etc. Visiting Moderna Museet in study. Though the observations were made Stockholm, we felt that it would be appropri- at Moderna Museet, the conclusions can be ate to design a project that would bring the translated to modern art institutions around art and the visitors into focus. A design for the world. The observations are based on a dynamic meeting-place that would trigger a conversations with staff and visitors, written dialogue between visitors, art and the mus- comments and visual observations. eum; a dialogue that would discuss methods of communicating art. We want to thank Moderna Museet, it’s staff and visitors for helping us to undertake the In earlier works we have used public space in project and gather this information. the city as our field and it therefore seemed natural to use the entrance area of the muse- RACA / Pulsk Ravn and Johan Carlsson is a design duo um as a place for research. The entrance has based in Copenhagen. www.raca.dk strong references to the city street in terms of facilities (the shop, the coffee bar, etc.) and is the place in Moderna Museet where all these facilities meet. In order to infiltrate the muse- um structure we had to design a situation that could equally well have been the institution’s own initiative. The intervention had to mirror Moderna Museet itself. We designed the situ- ation using imitations of shapes and codes already in existence at the museum.

Dressed in the museum’s own uniforms, act- ing as guides, we took part in the daily rou- tines. We met up with the staff for morning coffee, ate lunch with them and checked out at the same time in the evening. The MOD- ERNA/MODERNA project lasted for ten days CAMOUFLAGE by RACA

Entering Moderna Museet, one finds oneself become confused and want to know where we in the part of the museum that connects to can find Moderna Museet. the outside world. This environment is rec- ognizable from other public spaces. Visitors If one looks upon a space as being a street know how they are expected to behave and then one asks where the storefronts are. And they can relax. Relaxed visitors feel a rela- if one is entering a museum one wants to tionship with the museum and are open to know where the art is. The confusion lies not receive the challenges that contemporary in the commerce as such but in a space that art poses. Relaxed visitors want to come has not clearly defined itself; a space that back again. has placed itself somewhere in-between. At least this is how the museum wants us 1 In an interview for “Kompetensgalan 2004” Lars Nittve to feel.1 explains how he sees the role of the museum; a place that Yet one of the most common questions allows people to lower their guards and meet something as we were asked was: complicated as contemporary modern art. The total experi- – Where do I find Moderna Museet? ence should be as safe and welcoming as possible. Lars Nittve, Museum Director Moderna Museet, “Kriser tvingar en att tänka nytt”, http://www.kompetensgalan.com/docs_chan- The museum is defined as being a public nel_nom_art10.asp,2004 space. As with other such institutions, visi- tors identify the museum as being a public 2 At the webpage of Moderna Museet under the title “Mod- erna Museet’s objectives in according with the Government Entrance hall, Moderna Museet, photo: RACA place because they do not have to pay to en- directives, 2005” one reads: “The free admission to the mu- ter it. However, disguised behind the image of seum creates the potential for a non-commercial forum where a public place is a space that is justified by the public can meet, discuss and increase their awareness its commercial profit, a space where the en- of our cultural heritage. http://www.modernamuseet.se/v4/ templates/template4.asp?id=2094 trance fee has been replaced by an expanded museum shop and other facilities that encour- In 2004 the museum shop at Moderna Museet made a profit age us to spend money.2 of almost 10 million SEK. This is app. 600% more than in 2003 when the museum did not have free admission. 2004 was the first year of free admission and the year when Mod- The fact that one buys actual things here erna Museet moved back to its old premises on Skeppshol- connects this part of the museum to the real men. When Moderna was situated at Klarabergsviadukten the world and reminds us of situations that we space for the shop was far smaller and therewith also the know from outside the museum: the shopping sales. This is part of the reason why there has been such an increase but a choice has also been made by extending the mall, the airport, the restaurant, the street etc. area of the shop. We do not automatically connect shopping with an art experience at a museum. Few, if 3 In a Questionnaire RACA asked the museum staff about what they think is the most common reason for visiting the mu- any people, would list shopping as their main seum. The majority (80%) listed art as being the main reason; 3 reason for visiting a museum. And even if part the rest saw a combination of art and a social experience. of the role of the museum is to provide “out of art experiences”, we want to believe that most of the visitors come here to experience art, and that they arrive with the expectation of entering an art museum. If this expectation is not fulfilled when we enter the building we Cloakroom, Moderna Museet, photo: RACA – Where do I find Moderna Museet? by their shape and reflecting material collect – You are here; you will find the art down the the space into one spot and place the visitor corridor on your left. in a context. A very refined choice that cel- ebrates the act of having a cup of coffee but The confusion about the definition of space leaves the info desk with its L-shaped translu- continues in the design of the interior. Not too cent wall screaming helplessly for attention. bold not too modest, not too accessible and not too distant; both cosy and artistic. Nothing The interior is part of the context and the should actually be dominant.4 context we initially enter is part of how the we read the museum experience as a whole. The choice of colours in the entrance hall is an And thus it affects how we perceive the art.5 aesthetic combination of green, grey and beige, In this case the strategy has been to remove carefully matched nuance by nuance. None of all that could be disturbing, all that could cre- the colours disturbs us as our vision sweeps ate a barrier between the visitor and the art. the space. However, when we reflect on the But the presence of “nothingness” could in colour scheme it stimulates associations with itself be disturbing to visitors. interiors in official institutions; spaces where a desk or a drawn line defines a barrier be- In a questionnaire RACA asked the staff of the tween the visitor and the institution. museum what they liked or disliked about the design of the museum. Some of the answers The shapes used in the design of objects in the were: space are all based on linear forms, the vol- “The design is too elegant, contemporary ume of the cube and the rectangle. Very often art needs more raw and flexible spaces.” Entrance hall and espressobar, Moderna Museet, photo: RACA one side of the volume has been cut, in order “I like the fact that the espresso bar and to create a shelf for folders or, as in the case the shop are placed by the entrance.” of the espresso bar, an integrated table. The “I do not like the institutional look; it looks shapes are all very basic; nothing that hasn’t like a hotel lobby or a bank.” been seen before and thereby nothing that “I like the logo of the museum.” calls attention to itself or dominates. Open- ness is contradicted by a sense of authority 4 “Everything that prevents visitors from feeling free and open and cosiness by a minimalist coolness. in their encounter with the work of art must be removed. The museum should be the optimal site for an encounter between art and people.” – Lars Nittve, Museum Director Moderna Mu- Materials used include plastic, Plyfa and steel seet, “Åbne døre i Stockholm” by Lars Vikström, Dagladet, from the ship-building industry. For these basi- 16. Feb. 2004.

cally industrial materials not to call attention 5 “Today we know that the situation in which a visitor encoun- to themselves, they have been polished and ters works of art, the context itself, can decide entirely how treated so that people will not be disturbed by the work is perceived.” – Lars Nittve, Museum Director Mod- evidence of welding or be caused to reflect on erna Museet, “Rent hus” by Tomas Lauri, Forum 02/04. the fact that the plastic is actually the same material used in the car industry. Basic but exclusive looking.

If anything in this space calls attention to it- self, it is the mirror lamps hanging in a row above the espresso bar counter. Globes that – Where do I find Moderna Museet? statements. In its design the museum shows – You are here; you will find the art down the a carefulness and respect for the building and corridor on your left. the art but perhaps this cautiousness has been taken too far. This is not the whole truth. One can in fact experience art before passing through the Design cannot solve all the problems and doors into the corridor leading down to the where the design fails the museum guides collections. succeed. Walking guides wearing badges in In both of the museum’s entrances the multiple colours are on hand to answer ques- walls are partly dressed in Yinka Shonibare’s tions and to assist confused and lost visitors, textile artwork. And hanging in the light-well of that is, if they dare to make the move and the library is a huge glass bottle with a ship ask. inside; another work by Shonibare. The act of bringing these pieces into the foyers is to “We have noticed a big difference on the part state that this is a Museum of Modern Art. of visitors – it is far more fun with a living Though once again there is a confusion, and entrance, where one is welcomed by “live the presence of art becomes more of a hint; staff” and meets the art instantly. I believe something being “both – and”, it is there but that many of the first time visitors feel far it is not. more relaxed and “open” in their meeting with the rest of the collections.” – Elisabet Waern, Shonibare’s ship-in-a-bottle hangs behind the Moderna Museet shop, MODERNA/MODERNA window in the space which serves as a light- visitors’ book. Entrance to the art collection, Moderna Museet, photo: RACA well for the library. It is visible from the foyer but it is not in the foyer. One cannot feel its “IT IS A QUESTION OF REDUCING presence, the size or weight of it. The walls THE DISTANCE BETWEEN ART AND are dressed with textile artwork but, placed behind reflective glass, the works distance VISITOR.” themselves from the space, not really belong- – Lars Nittve, Museum Director Moderna Museet, “Rent hus” by Tomas Lauri, Forum 02/04. ing there. The intention of making a state- ment for a space to belong exclusively to an art museum is weakened by too much caution and practical thinking. And so the confusion as to where one can find Moderna Museet remains.

Maybe the answer as to where to find Mod- erna Museet should rather be: – Where do I find Moderna Museet? – You will find the Museum down the cor- ridor on your left.

The issue of confusion is not about bigger and clearer signs to guide visitors or assist them in reading Moderna Museet but a question of communicating through space and making

Display of art in the entrance hall of Moderna Museet, photo: RACA Exhibit of the collection, Moderna Museet, photo: RACA DISTANCE by RACA

In discussions with Moderna Museet we “The closest I have been to a Modigliani! Talk were told that it should not be too easy to about bringing art to the people!” – Wini Wong, reach the art; art is complicated, contempo- MODERNA/MODERNA visitors’ book. rary art is demanding. The traditional exhibition space (the white “Being able to be so close to my favourite box) has been designed to achieve this. The paintings and be photographed with them was art is on display and the visitors are there to a very nice experience. Instantly I became a watch quietly, from a distance. part of the piece of art. Thank you, Moderna!” – Christina, MODERNA/MODERNA visitors’ In the case of Moderna Museet the exhibi- book. tion spaces for the permanent collection are separated from – or connected to – the rest MODERNA/MODERNA displayed an unembel- of the museum by a long corridor. On one side lished relation between visitor and art. the corridor has doors leading to the art, and on the other side windows provide a view of a 1 “We have to learn that the spectator has become autono- gravelled yard, which some people might as- mous; we cannot make museums anymore where we do not take into account that the autonomy of the spectator is far sociate with a contemplative Japanese gar- beyond the so-called autonomy of the art work.” Chris Dercon, den. The corridor is a transit space, designed LACMA in Content AMOMA, Tashen, 2004, pp.132, 133. for leaving the everyday world behind and pre- 2 “In the moment when the art and the market is one the aura paring visitors to meet the art. The design is gone.” Claus Buhl, Director of the advertising agency buhl states that art is not easy. UnLtd. “Ikke for de blå øjnes skyld”, in Kunstmagasinet 1%, summer 1999 #6, p.14. Why use the design to underline the fact that art can be difficult? 1

The corridor is not only there to prepare the visitor for looking at the art but to manifest the gap between the art and the commercial culture. A meeting between the two could jeop- ardize the romantic picture of art being some- thing more.2 On the other hand the distance between art and commerce is also there to create a distance between art and visitors. The communication of art becomes an issue of distance between art and visitors, art and commerce, visitors and museum. MODERNA/MODERNA uses the design and the constructed situation to explore the meet- ings of those elements.

Viewing the collection, Moderna Museet, photo: RACA “EVERYTHING THAT PREVENTS VISITORS FROM FEELING FREE AND OPEN IN THEIR ENCOUNTER WITH THE WORK OF ART MUST BE REMOVED. THE MUSEUM SHOULD BE THE OPTIMAL SITE FOR AN ENCOUNTER BETWEEN ART AND PEOPLE.” – Lars Nittve, Museum Director Moderna Museet MODERNA/MODERNA at Moderna Museet MODERNA/MODERNA Photo: RACA, Morten Sørensen and Rasmus Brandt by RACA

Every day during opening hours from The A design for the communication of art was MODERNA/MODERNA promoted the muse- and handed over to the visitor who could leave 26th of August to The 4th of September, the sited right at the entrance to the museum. um’s own art collection and offered visitors with a memento of her/himself together with friendly and service-minded staff of MOD- It was placed on the “square” in the crossing the opportunity to photograph themselves, art from the Moderna Museet. A duplicate of ERNA/MODERNA welcomed visitors to Mod- between other facilities that the museum of- free of charge, together with a favorite art- the photo was placed on the white exhibition erna Museet. fers: art, shop, espresso bar and restaurant. work from the museum. The photo, which also wall as a contribution to Moderna Museet’s served as a postcard, was printed on the spot new collection of its art and visitors. MODERNA/MODERNA at Moderna Museet Photo: RACA, Morten Sørensen and Rasmus Brandt

The staff of MODERNA/MODERNA were kept Besides the photo offer there was a stage very busy. Visitors welcomed the offer and the that was open to everyone. Staff and visitors exhibition wall was rapidly filled with pictures alike were invited to make their contribution of visitors and their favorite works of art. In to- by sharing their thoughts and knowledge or tal 1200 “personal postcards” were handed by showing their own piece of art at Moderna out in the course of nine days. Museet.

MODERNA/MODERNA at Moderna Museet MODERNA/MODERNA Photo: RACA and Craft in Dialogue OPEN SCENE

27/8 – Poem reading, “Lilla snigel akta dig” – MODERNA/MODERNA hosts the – Performance by SARALUNDEN – Film screening by Erik Hassel, by Anna Sandwall, Zon Moderna Teacher-evening – Roy Lichtenstein cake from the Zon Moderna 30/8 – Performance by Einar Book, 1/9 – Conversation between RACA and restaurant MOMUMAT 3/9 – Live transmission from Moderna by the Zon Moderna Munch Ann-Sofi Noring, Moderna Museet 2/9 – Fashion show and presentation of web based paper www.vidvinkel.net 31/8 – Guided tour in English and Swedish – Talk by Magnus af Petersens, design concept by Carina Romlin Falk 4/9 – Music performance by Sara Landare, by Anders Karnell Moderna Museet and Sandra Ehn, Zon Moderna host Moderna Museet

“WHAT A NICE WAY OF LEAVING WITH A SOUVENIR FROM MODERNA MUSEET. THE BUILDING IS FANTASTIC, THE COLLECTIONS VERY INTERESTING – EVEN THE FOOD IS DELICIOUS.” – Marge S. “GREAT FUN TO VISIT THIS MUSEUM, AND THAT IT IS FREE. I WILL BRING MY PALS HERE!”– Susanne from Väsby “SJIEK MUSEUM, NICE INITIATIVE WITH THE PICTURES… GREAT IT’S FREE… CULTURE SHOULDN’T COST MONEY… PEOPLE NEED IT AS MUCH AS THEY NEED FOOD AND DRINKS.” – Nele, Belgium “WONDERFUL TO SEE THAT THE “NICE ART” CAN BE PLAYED WITH. A BIG SUCCESS FOR THE MUSEUM THAT REALLY REACHES OUT TO A NEW AUDIENCE!” – J.P. Nilsson “BRUTALLY FUN!” – Janne “IN 10-15 YEARS TIME OUR 14-15 YEAR OLD CHILDREN WILL ALSO REMEMBER OUR VISIT, AT LEAST SOME PARTS OF IT!”– Carina “I CHOSE THE GOAT BECAUSE TO ME IT IS THE SYMBOL OF MODERNA MUSEET; AND MY PARENTS WILL KNOW THAT I HAVE BEEN HERE WHEN THEY RECEIVE A POSTCARD.” – Anna “OH, HOW WONDERFUL TO BE ABLE TO HUG AND BE PHOTOGRAPHED WITH KJARTAN SLETTEMARK’S LOVELY POODLE! A SACRED MOMENT! THANK YOU!”– Karin Lindqvist “IT WAS FUN TO BE ABLE TO BE A PART OF AN ARTWORK. THANK YOU!” – Emma “THE CLOSEST I HAVE BEEN TO A MODIGLIANI! “I HAVE BEEN THERE!” WHAT A GREAT IDEA. TALK ABOUT BRINGING ART TO THE PEOPLE!” – Wini Wong “I AM A GRANDMOTHER WITH BIG FEET. THESE SHOES WOULD FIT ME. LE MODÈLE ROUGE, THANK YOU!” – Laila Arnesson

PROMOTION by RACA

It is an open secret that the success of a mu- On a wall opposite to the candy ring the post 1 On the Moderna Museet website the slogan: “Modernas seum depends not only the quality of the art cards are displayed. The postcards are repro- konst hemma hos dig!” (Moderna’s art in your home) is used to sell postcards. Moderna Museet has over 225 different art- but also the value of access to real things. ductions of art, and for some people may be works as postcards that can be bought in the shop or ordered The value of access to the shop and the res- the closest they will ever be to art.1 As with and sent to your home. http://www.modernamuseet.se taurant are there to create the success of the candy ring the variety and number of post- the museum. This “new” situation for the cards makes the act of buying one a personal 2 “Sampling is one of many techniques in marketing, whose purpose is to create relations between the consumer and the museum opens up for new ways of commu- experience. One could postulate that the post- company. Because that is what marketing is about: To create nicating art. Asking ourselves whether one card is the optimal design for communicating relations that the companies sooner or later can earn money might learn from the success of the com- art and creating relations between people and by.” Claus Buhl, director of the advertising agency buhl UnLtd. mercial part of the museum we took a look art or people and the museum. On the front of “Ikke for de blå øjnes skyld”, in Kunstmagasinet 1%, summer 1999 #6, pp.14 at the museum shop. the postcard is an art image and on the back one fi nds information about the artist, tech- The products are arranged according to cate- nique and size. There is space to write a per- gories and range in value from the giant rub- sonal greeting and the postcard can be sent ber-band for 5,00 SEK to a silver sphere by the by post or pinned up on the wall. Marked with designer Niclas Ejve that can be taken home the signature of Moderna Museet the value for the sum of SEK 29 000. The best selling rises from being just any postcard to being an product is the candy ring. (At the Lousiana indication of a place and of good taste. Art Museum in we found the same product – obviously a hit.) Asked why this was MODERNA/MODERNA used the free post- the best seller, the museum explained: “In a card 2 and the act of picking and choosing to strange way women become fascinated by the communicate art and create relationships be- ring. There are endless colour combinations tween the visitor and the art, the visitor and and the rings look like candy. We display them the museum. in a big bowl, the customers can mess about with them for an eternity until they fi nd the “What a nice idea, the picture will fi t excellently one they like best.” on the fridge among all the other playgirls and nude chicks.” – Therese Remmert, MODERNA/ The design and appearance of the candy MODERNA visitors’ book. ring has nothing to do with art. But the ring might work as a reward after having seen the “I chose the goat because to me it is the symbol exhibitions or as a short escape from art. of Moderna Museet, and my parents will know The fact that the rings are displayed in a bowl that I have been here when they receive a post- and that there are innumerable colour-combi- card.” – Anna Hjort, MODERNA/MODERNA visi- nations makes us spend time looking for the tors’ book. one we really want. The candy ring is a sup- plement to areas designed for sitting down “With a presentation of art as great as this it “Candyrings”, the bestseller in Moderna shop. and contemplating. The picking and choosing gave us a more interesting tour among the works makes it the visitor’s own choice and creates in the collections. Imagine a crazy idea like this Souvenir photos: RACA. Munch key-rings photo: Åsa Lundén, Moderna Museet. a personal experience. turning out to be so good!” – May Louise and Lasse, MODERNA/MODERNA visitors’ book.

01. Woman in a Blue Dress, 06. Poodle, Kjartan Slettemark 11. Untitled, Donald Judd 16. Portrait of the Danish writer Helge Amedeo Modigliani Rode, Edvard Munch

27% 62% 11% 17% 58% 25% 28% 39% 33% 46% 36% 18%

02. American Pop-art, 07. Le Modèle rouge, René Magritte 12. Monogram, Robert Rauschenberg 17. Walkers last mission, Roy Lichtenstein Jan Håfström

31% 40% 29% 31% 57% 12% 18% 57% 25% 29% 50% 21%

03. IRU, Olle Bærtling 08. The hurdler Moreau, Karl Sandels 13. This Girl has Inner Beauty, 18. Sex-paralys appeal, Lotta Antonsson Wilhelm Freddie

41% 44% 15% 15% 59% 26% 32% 42% 26% 19% 42% 39%

04. Dancegroup, Bror Hjorth 09. L’Escalier, Fernand Léger 14. Model of monument for the third International, Vladimir Tatlin

Male

Female

Group 22% 37% 41% 0% 80% 20% 48% 30% 22% Total: 28% 48% 24%

05. Untitled, Jouko Lehtola 10. Child with a Toy Hand Grenade 15. Paysage Marocain, Photos in Central Park, N.Y.C., Diane Arbus Henri Matisse 100

0 23% 23% 54% 35% 30% 35% 18% 65% 17% 01 02 03 04 05 06 07 08 09 10 11 12 13 14 15 16 17 18 Art-work No. 1 No. 1 MOST POPULAR POSTCARD MOST POPULAR ARTWORK Woman in a Blue Dress, Amedeo Modigliani Monogram, Robert Rauschenberg

“I CHOSE THE GOAT BECAUSE TO ME IT IS THE SYMBOL OF MODERNA MUSEET; AND MY PARENTS WILL KNOW THAT I HAVE BEEN HERE WHEN THEY RECEIVE A POSTCARD.” – Anna “OH, HOW WON- DERFUL TO BE ABLE TO HUG AND BE PHOTOGRAPHED WITH KJARTAN SLETTEMARK’S LOVELY POODLE! A SA- CRED MOMENT! THANK YOU!” – Karin Lindqvist “IT WAS FUN TO BE ABLE TO BE A PART OF AN ARTWORK. THANK YOU!” – Emma “THE CLOSEST I HAVE BEEN TO A MODIGLIANI! WHAT A GREAT IDEA. TALK ABOUT BRINGING ART TO THE PEOPLE!” – Wini Wong “I AM A GRAND- MOTHER WITH BIG FEET. THESE SHOES WOULD FIT ME. LE MODÈLE ROUGE, THANK YOU!” – Laila Arnesson “WHAT A NICE IDEA, THE PICTURE WILL FIT EXCELLENTLY ON THE FRIDGE AMONG ALL THE OTHER PLAYGIRLS AND NUDE CHICKS.” – Therese Remmert ”HEY THIS