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Nordisk Pappershistorisk 3/2009 NORDISK PAPPERSHISTORISK 3/2009 TIDSKRIFTUTGES AV FÖRENINGEN NORDISKA PAPPERSHISTORIKER Du känner väl till föreningens hemsida? www.nph.nu Ordförandens spalt 3 september 2009 Föreningen Nordiska Pappershistoriker å detta läses är vi redan långt inne på hösten efter en relativt hygglig nordisk sommar med såväl sol som regn och en mycket varierande Föreningen Nordiska Pappershistoriker temperatur.D Det är ju så det skall vara här uppe i Norden. (NPH) är en ideell förening med uppgift Sedan senast har NPH hållit sitt årsmöte i Silkeborg i Danmark i början att främja intresset för pappershistoria av juni. Våra danska värdar med Anna-Grethe Rischel och Keld Dalsgaard och pappershistorisk forskning i Norden , Larsen i spetsen hade byggt upp ett förträffligt program med fina och intres- i synnerhet beträffande papperets rå varor santa föredrag och besök, som demonstrerade såväl papperets historia som och tillverkning under olika tider, bruks­ tillverkningsteknologins och pappersindustrins historia. Den sistnämnda miljöer och människorna vid pappers­ är ju av speciellt intresse för oss i Finland eftersom nu också vi får upp- bruken samt papperets användning och distribution. Vattenmärken och datering leva det ena nedlagda pappersbruket efter det andra… Ett stort tack till av historiska dokument med hjälp av Anna-Grethe och Keld för ett fint möte! pappersegenskaper utgör, liksom pap­ Vid årsmötet valdes givetvis föreningens funktionärer för det nya verk- perskonservering och konstnärligt bruk samhetsåret. Dessa nämns på annat håll i tidskriften. Mötet godkände också av papper, andra exempel på föreningens styrelsens förslag till revision av föreningens stadgar. Denna innebär inga intressen. Föreningens intresseområden drastiska förändringar utan närmast en modernisering av stadgarna. Den består således av papperets industri­, viktigaste ändringen poängterar industrihistoriens roll i föreningens verk- kultur­ och socialhistoria. samhet. Detta är viktigt dels därför att det pågår omfattande utredningar av denna i våra nordiska länder och dels därför att vi just nu lever i en industriell Ordförande: Jan­Erik Levlin, brytningstid och industrihistorien är därför säkerligen av intresse för många Tel: +358­9­67 94 39 både nuvarande och presumtiva medlemmar. Sekreterare: Per Jerkeman, Årsmötet accepterade också styrelsens förslag att kalla Christian Valeur Tel: +46­(0)8­642 51 53 och Göran Wohlfahrt till hedersmedlemmar i föreningen. Medlemsärenden och kassör: Richard Kjellgren, Nästa årsmöte kommer att äga rum i Finland i början av juni 2010. Tel: +46­(0)8­519 553 14 Jan-Erik Medlemskap kan tecknas genom inbetalning av medlemsavgiften till NPH:s plusgirokonto 85 60 71­6 i svenska kronor. I Danmark kan inbetalning ske till Posgironummer 0283 Nummer 3 2009 0004900561, Anna­Grethe Rischel, märk talongen Redaktionell information ................................................................................................................ 2 NPH­kontingent. OBS! glöm inte att ange avsändare. Vid frågor kontakta Ordförandens spalt ­ Jan-Erik Levlin ......................................................................................... 2 Richard (se uppgifter ovan). Papperskonstens blomstringsperiod 1989­2009 i Finland ­ Eero Niinikoski ................. 2 Avgifter: Enskild medlem: 200 SEK, Cellulosa och papper på frimärken ­ Bertil Mark ..................................................................... 5 Institutioner: 400 SEK, Företag: 900 SEK NPH:s funktionärer verksamhetsåret 2009 ­ 2010 .................................................................. 4 NORDISK PAPPERSHISTORISK TIDSKRIFT Use of rag fibre in papermaking in the 19th and 20th centuries ­ Helene Sjunnesson .. 8 ISSN 1101-2056 Miljökrav på 1700­talet ­ PJ ....................................................................................................... 11 Årgång 38, 2009 nr. 3 I grevens tid ­ PJ .......................................................................................................................... 11 Utgivare: Föreningen Nordiska Pappershistoriker NPHs årsmøte i Silkeborg 3. – 5. juni 2009 ­ Kari Greve ................................................. 12 Huvudredaktör och ansvarig utgivare: Två nya hedersmedlemmar - PJ ................................................................................................ 14 Esko Häkli, Mechelingatan 13 B 24, FI 00100 Helsingfors, Finland Stämningar och industriminnen - Esko Häkli ........................................................................ 15 E­post: [email protected] Revision av antal pappersformar - RK .................................................................................... 15 Tryckeri: Nyman & Jonsson Tryckeri AB Inte en dag utan papper - Recension, R. Kjellgren ............................................................. 16 MATERIALINLÄMNING ­ SE SID 16 (Där finner du också kontaktuppgifter till de nationella redaktörerna) Omslagsbild: En före detta fabrikshall i Kymmene AB:s gamla fabrik, Kuusankoski. Foto: Jouko Heikkilä. 2 Papperskonstens blomstringsperiod 1989-2009 i Finland Av Eero Niinikoski (översättning: Esko Häkli) Finlands Papperskonstgalleri firade sin 20-åriga verksamhet genom att under januari – september 2008 visa en fest- utställning, som samtidigt var galleriets sista. Varför så? Svaret är enkelt: sam- tidigt med den globala recessionen tog pengarna slut. En efter en drog sig spon- sorerna ur spelet. Uppmuntrad av en stor entusiasm uppstod galleriet i slutet av 1980-talet när lämpliga utrymmen för ett pap- perskonstgalleri byggdes i anslutning till ett nytt turistcentrum på den välkända skogsindustriorten Kuusankoski. Place- ringen av ett specialgalleri med utställ- ningsverksamhet av nationell betydelse utanför huvudstadsregionen motivera- Merja Vainio: ”Mot ljuset”, 1998, linne, bomull, järntråd, elljus. Foto: Kimmo Rekimies. des med det faktum att Kuusankoski är den ledande pappersindustriorten i Fin- Det var alltså fråga om en helt ny ska kontinenten. Den tyska konsthisto- land och att hela den omkringliggande konstart, om en av nutidskonstens många rikern Dorothea Eimert, som forskat Kymmenedalen har en historiskt stark förgreningar. Även om papperet ända mycket i papperskonsten, har påpekat ställning i utvecklingen av skogsindu- sedan urminnes tider har haft sin plats att man i Europa fortsatte på exprimen- strin i Finland. bland annat i den traditionella kinesiska tella linjer från tiden efter 1910- och Som understödsorganisation för Fin- och japanska hantverkarkonsten har det 1920-talen och fastnade vid använd- lands Papperskonstgalleri grundades sällan haft en central ställning som ett ningen av industriellt tillverkat papper. en förening, till vilken förutom vänor- självständigt konstnärligt material. Vis- Betydande experiment med användning ten Kuusankoski flera storföretag inom serligen utvecklades origamiarbete dvs. av papper och kartong gjordes bland an- pappersbranschen, försäljnings- och ar- konsten att vika papper och använda nat på Josef Albers inledande kurser i betsmarknadsorganisationer samt orga- collageteknik, redan för flera århundra- det berömda tyska Bauhaus-Institutet. nisationer och företag representerande den sedan i Japan till fulländning, men Amerikanska konstnärer förstod dä- konstindustrin anslöt sig som medlem- enligt den nutida uppfattningen var det remot att ta handgjort papper och våt mar. Av stor betydelse var att de båda mera fråga om konstfärdighet än konst. pappersmassa till sitt basmaterial. Detta mäktiga organisationerna inom pap- Papperskonsten i den mening den skedde genast efter kriget, då man under persbranschen, arbetsgivarnas Metsä- uppfattas i dag fick sitt ursprung under ledning av den berömda pappershistori- teollisuus r.y. (Skosgindustrin r.f.) och det tidiga 1900-talet när abstraktionen kern Dard Hunter och papperskonstnä- arbetstagarnas Paperiliitto r.y. (Pap- fick fotfäste i konsten. Uppfinningsrika ren Douglas Morse, kallad den moderna persförbundet r.f.) ville bli medlemmar. konstnärer upptäckte i papperet ett nytt papperskonstens fader, började utveckla Viktigt stöd till initiativet gavs även av sätt att uttrycka sig; man insåg att pap- tillverkningsteknik för handgjort papper undervisningsministeriet, Länsstyrelsen persmaterial kunde vara en naturlig och genom att utnyttja olika typer av fiber- för Kymmene län samt Konstindustri- självständig utgångspunkt för konst- material, t.ex. slutkörda jeans tyger. Bl. ella högskolan. närligt skapande. År 1912 bröt Picasso a. Cranbrooks konstakademi i Michigan Understödsföreningen hade som mål och Braque som de första mot det tra- och konstavdelningen vid universitetet att förstärka och bredda Finlands då- ditionella sättet att måla. Som abstrakta i Quebec i Kanada blev intresserade av tida ledande exportprodukts, papperets färgfält fogade de till sina målningar dessa experiment. image. Initiativtagarnas stora entusiasm konkreta materiella element, såsom pap- Den egentliga påstöten till pappers- inför den nya konstarten avspeglas i persremsor och tygbitar. De experimen- konstens frammarsch gavs av Robert mina egna välkomstord vid galleriets in- terade även med att tillverka tredimen- Rauschenberg, känd som popkonstens vigning, då jag dristade påstå, att ”enligt sionella skapelser av papper och kartong. befrämjare, som i början av 1970-talet mina egna observationer strävar pap- Senare utvecklade flera futurister, dada- besökte Japan och inspirerad av resan perskonsten till att vara utmanande, nå- ister och surrealister användningen av började lära sig att
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