Art and Politics Since 1950

Art and Politics since 1950 Fritz, Björn Published in: Swedish Art History 2018 Document Version: Publisher's PDF, also known as Version of record Link to publication Citation for published version (APA): Fritz, B. (2018). Art and Politics since 1950. In L. Qvarnström (Ed.), Swedish Art History: A Selection of Introductory Texts (pp. 355-369). (Lund Studies in Arts and Cultural Sciences; Vol. 18). Department of Arts and Cultural Sciences, Lund University. 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LUND UNIVERSITY PO Box 117 221 00 Lund +46 46-222 00 00 Art and Politics since 1950 Björn Fritz Sweden in the 1950s and Sweden today are very different places in many ways. In the following, I will discuss the intersections between art and politics in Sweden during that time span, but it is important to emphasize that this is only one of many aspects of the history of the period. One might just as well trace shifts emanating from changes in art education, in intensified contacts with the rest of the world, and in aesthetic choices. By making my choice of perspective, many deserving artists will be left out of my essay, but on the upside, such a choice allows me to explore the development of Swedish society in close connection to the art it produces. Sweden kept a mostly neutral stance through the Second World War, so when rationing and travel restrictions were lifted in the beginning of the 1950s all was set for a prosperous return to a peacetime society. Te Social Democratic Party (Sveriges socialdemokratiska arbetarparti) that had been the ruling party almost continuously since 1920, and would remain in power until 1976, was continuing its project of modernization and the development of a social security system for all citizens. Te years from 1950 until 1973 are often thought of as a modern ‘golden age’ due to the fact that almost all Swedes saw an increase in wealth and available social ser- vices (such as free schools, free universities, free medical support, and old age pensions). Tis was made possible by a general upturn in the economy after the Second World War and by the availability of very cheap energy in the form of oil. Tis would last until the beginning of the 1970s, at which time several economic factors, especially the oil crisis of 1973 and the American stock market crash that same year, would put an end to this unrivalled economic growth and dispersion of wealth among all of Swe- 335 ART AND POLITICS SINCE 1950 den’s citizens. Te most visible problem during this golden age was the need to build new homes for a growing and more urbanised population as well as rebuilding existing cities to accommodate increased car traffic. 1950s: public art and one photographer Te Swedish art scene during the 1950s was mostly dominated by what had taken place before the war, and artists working within the framework of Concretism (Konkretisterna) or Surrealism (Imaginisterna) were the major players. Although they were working mainly with art for art’s sake-related formal problems, it should be noted that this type of modern art became a very important symbol for modernity as well as progress of the time, especially through public art created by artists such as Lennart Rodhe, Olle Bonniér, Karl Axel Pehrson, Pierre Olofsson, Randi Fisher, and Arne Jones. Public art in Sweden became a building block in the construction of a modern mass society, and it was aimed at pleasing the general viewer and improving everyday life for all. One photographer during this era stands out as the most progressive and forward looking – Christer Strömholm (1918–2002). After a time as a student of well known Swedish art teachers such as Otte Sköld and Isaac Grünewald, he became a photographer who travelled the world and photographed its less seen sides. Te best known of these images are those he took of transsexual women at Place Blanche in Paris during the 1950s and 1960s. In these, as well as many of his other photographs, there is an un- likely combination of snapshot, portrait photography, and documentary style that sets him apart as one of the greatest Swedish photographers of all times (fig. 194). His documentary style, where he photographed these marginalized women from within their own community and together with them, was very far removed from the general Swedish views on transsexu- ality, homosexuality, and prostitution in the 1950s. Sweden had its own version of the American McCarthy witch-hunts in the form of the Hajby and Keyne political scandals (Mr. Kurt Hajby’s alleged love affair with Gustav V, the king of Sweden, was at the centre of the scandals). Ström- holm’s photographs were not shown to the general public until the publication of the book Les Amies de Place Blanche in 1983 and in his retrospec- 336 ART AND POLITICS SINCE 1950 Figure 194 Christer Strömholm, ‘Gina & Nana’ from ‘Place Blance’ in Les Amies de Place Blanche, 1963. © Bildverksamheten Strömholm. tive exhibition at Moderna Museet (the Museum of Modern art in Stock- holm) in 1986. Te images then became an important inspiration for many Swedish artists interested in questions of gender, sexuality, and identity, and Strömholm became an influential teacher at his School of Photogra- phy in Stockholm between 1962 and 1972. 1960s: Playful protests and Moderna Museet Te sixties were a time of great change in Sweden, as elsewhere in the world. Te designer Lena Larsson (1919–2000) can be seen as an example of how old traditions were cast aside and modernity was embraced; she suggested that families should spend more time together and less time taking care of household chores. Buying new and throwing it away when it was worn out would be more sensible than countless women wasting 337 ART AND POLITICS SINCE 1950 their lives with mending and washing up the dishes (yes, she did suggest paper plates and cups at the kitchen table). Moderna Museet opened in 1958. Pontus Hultén (1924–2006) was its director from 1960 until 1973, and he produced many highly influential exhibitions that in turn changed the Swedish art scene. Noteworthy shows had themes such as American Art, Pop Art, Movement in Art, and the remarkable installation of French-American artist Niki de Saint Phalle’s large female sculpture She, which the audience entered through the vagina in order to take part in the exhibition inside her body. American artists Edward Kienholz, Andy Warhol, and Robert Rauschenberg all had sepa- rate shows, and these kept the Swedish audiences in touch with contem- porary, mostly American, art. Te exhibition Movement in Art (Rörelse i konsten) in 1961, included mobiles, motorized sculptures, happenings, and performances. One art critic who disapproved of the playfulness of the kinetic art wondered sar- castically if the nearby amusement park Gröna Lund had reopened at the museum. While the exhibition was a joint venture with the Stedelijk museum in Amsterdam and the Louisiana museum of Modern Art in Den- mark and mostly showed international art, one Swede was represented – P O Ultvedt (1927–2006). His playful machines, often with humorous or sarcastic titles, showed very little respect for the institution of High Art and instead appealed to the viewer’s more childlike and playful sides (fig. 195). In hindsight, this show at Moderna Museet seems like a starting point for a livelier and far less self-conscious art scene in Sweden, opening it up to new forms of expression such as installation and performance. Art could be playful and political at the same time, and many artists took the chance to provoke and challenge society, the audience, and any perceived expec- tations of what art ought to be. Öyvind Fahlström (1928–1976) created maps of the world explaining the political structures of the times and made installations where the audience was invited to rearrange the pieces in them (compare Max Liljefors’ essay on Fahlström in this book). Te anarcho-feminist artist Monica Sjöö (1938–2005) caused a scandal with her painting God Giving Birth in which God was depicted as a black woman giving birth (fig. 196). Carl Johan de Geer (b. 1938) produced several provocative posters such as his anti-nation- 338 ART AND POLITICS SINCE 1950 Figure 195 P O Ultvedt, Te Fly Swatter (Flugsmällan), 1962, mixed materials, 51 x 71 x 39 cm. Moderna Museet, Stockholm. © P O Ultvedt/BUS. alistic statement with the Swedish flag together with the text ‘Desecrate the flag, refuse to bear arms, betray your country, be anti-nationalistic’ as well as the word ‘COCK’ written on the flag itself (fig. 197). De Geer was also an editor of Lars Hillersberg’s (1934–2004) satirical magazine PUSS, and he produced several, often quite odd, television programmes for chil- dren.

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