We Expand Worlds

A publication by the City of Cultural Affairs Administration, December 2018

Editor: Åsa Nohlström Photography: Lo Birgersson, Frida Winter Text: Marit Larsdotter, Joanna Glad Printing: Stibo We Expand Worlds

Culture is a necessary force in an ever-changing world. It is a democratic right that can be thought-provoking and push boundaries. A city where everyone is able to enjoy art and culture is a city that is relevant to people from all over the world. In this publication, we describe how the City of Gothenburg Cultural Affairs Administration’s activities contribute to expanding worlds. Our stages and our different spaces highlight multifaceted stories about our modern age, past times and our future. We provide space for reflection, encounters and discussion. Supporting and safeguarding the independent arts scene and the inherent value of art are vital aspects of our mission. Art and culture should be at the centre of Gothenburg’s development. This is how the city becomes humane. We make it possible to experience our cultural heritage, while also nurturing it for future generations. Knowledge, curiosity about the wider world and receptiveness are the com- mon forces that drive us towards our goal of an open, equal city. Read on, and find out more about some of the people who work with activities that provoke, move and surprise.

Anna Rosengren, Administration Director, City of Gothenburg Cultural Affairs Administration Contents

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“When you get a visit from someone who hasn’t been here before, what do you show them?”

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A sector for independent arts, culture and funding 16 Art in public spaces

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“Young people should be visible, be heard and have the possibility to create”

26 Culture rolls in

30 The library – literature, democracy and free speech

32 Libraries enrich children 38 A valuable living room for young people

44 Museums – a context in time and space

46 The importance of preserving artworks

52 The fortified city

56 It’s about human stories

60 Regulations and the City of Gothenburg Culture Programme “When you get a visit from someone who hasn’t been here before, what do you show them?”

By interviewing people in a particular city district, shipyard and I would sometimes come here with the Cultural Affairs Administration can find out him, so the whole area is particularly special for me.” what values exist there that may not be immediately ‘Woman, 28’ has lived in the area for many years visible. and likes the fact that as the inner city grows, she is The aim is to secure the place of culture in the living more and more central. ‘Man, 53’ thinks the fast-growing city. old workers’ homes on Lindholmen form a unique environment which he likes showing to visitors. There’s a chilly wind and the sky promises rain. Pas- Vanja nods away as she takes her notes. sengers hurry with determination to and from the The interviews are part of what is known as a Älvsnabben river ferry. In the warmth of Lindhol- cultural consequence analysis – an inventory tool men library, it’s easier to find people who have time for mapping a particular area, much like a social or to answer a few questions. child consequence analysis. The aim is to identify Vanja Larberg and Ylva Berglund from the the area’s potential and see what can be developed Cultural Affairs Administration are on a mission; and integrated as the city district grows. The five well wrapped up, questionnaires in hand, and eyes values mapped in a cultural consequence analysis and ears on high alert. Vanja has done the same are the cultural environment (usually the older built thing before, several times, in Kortedala, but today environment), creative industries (artists/cultural they’re on Lindholmen. The brief is to invent the workers active in the area), identity (how people in less visible cultural values of this Gothenburg the area perceive its essence), aesthetic values and district – and that means culture from a broader meeting-places (both social and cultural). Experts perspective. in each area research their field. In an armchair in the library sits ‘Man, 67’, as he The main focus in the interviews is on me- is known in the anonymous survey: eting-places and identity. What meeting-places are “I love it here by Kuggen, with the water and the there, beyond the ones a short-term visitor can see, light. And the new Älvrummet lobby feels like a such as a library? dynamic space,” he says. “My father worked at the “When we did the interviews in Kortedala for

8 instance, it turned out that the area’s video rental The idea behind producing a cultural planning shop was an important meeting-place,” says Vanja. strategy is to ensure that culture and cultural “It was open late and the owner was friendly and values are included at an early stage as a new area welcoming. We would never have automatically emerges. The hope is that values like those that exist counted the video rental shop as a meeting-place,” in the Lindholmen case in the shape of creative she explains. and cultural businesses such as Gothenburg Film Not since the time of the Million Programme Studios and artists’ studios, which strongly contri- has there been as much construction taking place in bute to the character of the area, should be fostered Gothenburg as there is now. By 2035 the city will and integrated in the planning process. have 80,000 more homes, 80,000 more workplaces Having people and businesses that tell the story and 150,000 new residents. This is a tremendous of the area’s past is importantfor the future of a challenge on many levels: How should we prepare city district. It means a lot that the stories have for a change in climate? been listened to and that these interests have been Where will the skills we need come from? How acknowledged. can we keep the city linked together? In other The city will always change, and to some extent words, there is enough to deal with even disregar- this development is necessary, and there are plenty ding matters such as what residents think of as the of ideas about how to respond to these changes. As essence of an area, what they want to preserve and an example, Mie and Sara mention a studio strategy develop. formulated by the City of Stockholm in which And this – the fact that most other aspects are the Culture Administration is working with the easier to consider and measure and calculate the Property Management Department to ensure that cost of – is exactly why the city’s planners need there are always studios for professional artists – at to focus on the cultural consequence analysis and reasonable rents. cultural planning. On a more overriding level, the aims of the City’s We take the ferry back across the river and make cultural planning are: To clarify the city’s character our way to Norra Hamngatan, where the Cultural and history, lay a good foundation for sustainable Affairs Administration is based. Development development, and increase opportunities for the Managers Mie Svennberg and Sara Schütt are in people of Gothenburg to influence the physical the middle of planning an upcoming meeting with environment. the city’s politicians. Or as Sara Schütt sums it up: “We want to describe the values culture has and “The cultural planning strategy sets the agenda. how important they are in the city of the future,” As we plan the city’s development moving forward, says Mie. the cultural planning strategy helps us to build a The City of Gothenburg’s long-term cultural city together where people want to live, be stimula- planning goal is to create an attractive living en- ted and develop.” vironment in the city.

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A SECTOR FOR INDEPENDENT ARTS, CULTURE AND FUNDING

Culture opens up worlds where we can come together and discuss, on a foundation of unbiased exploration. Contact with the big issues, and deepened perspectives. Experiences that provoke, move us and make us feel like we belong.

14 The Cultural Affairs Administration’s operations in constantly ongoing. Like everything else, culture the Independent, Arts, Culture and Funding sector grows and changes with the world around us. We encompass a wide range of areas. They include the don’t own the culture scene, instead we have a Cultural Funding and Support Unit and the city’s mission to support the initiatives that exist,” says stage for guest performances, , as well Myriam Mazzoni, Head of the Cultural Funding as Göteborgs Konsthall and Frilagret. Göteborg and Support Unit. Konst which produces art interpretations for public The fact that art has an inherent value is the foun- spaces across the city. Speldags outreach cultural dation of all artistic activity. And when artists can activities, enriching everyday life for those unable to work freely, the result can be that other values arise travel to events. Summer entertainment that offers like ripples on water. However, creating these values variety and a sense of community. The Gothenburg is not the job of the artist. Dance and Theatre Festival presenting national and “Our mission is to ensure that there is a good international stage art. Events and networks involve foundation in Gothenburg for artists and arts the local culture scene and manifest the power and creators to work and operate freely and indepen- possibilities of culture. The content provided by the dently. After all, if there are no artists, there’s no art. sector takes place throughout the city, inside and in And a vibrant city and its inhabitants need the between the buildings. power and dynamism inherent in art and the culture “Whatever the activity, the artist, the arts creator scene,” says Myriam. and the work itself are at the core of what’s happe- “We aim to protect artists’ integrity and freedom ning. When we talk about the sector’s mission, it of speech. That’s why, in our forms of funding, we is therefore important to highlight that the point place demands on high artistic quality, but not on of departure is that there is artistic content for the benefit,” Myriam explains. spectator to see. That’s why we support the cultural There are several forms of funding for the inde- scene, developing our forms of funding to reach out pendent arts scene, and they vary depending on the in a city and to a growing culture scene,” says Jonna art form and how well-established something is. Ulin, Head of the Independent Arts, Culture and The Cultural Affairs Administration allocates funds Funding sector. as a way of providing the conditions for artists to And culture engages a lot of people. Independent work independently. The Administration’s SEK 80 Arts, Culture and Funding’s three proprietary insti- million for independent arts is only a part of the tutions have an audience of almost 220,000 people a overall turnover. year. And the independent arts scene, i.e. all art and “The independent arts scene is a dynamic, culture managed by private individuals, societies changing thing, and it can bring people together and other independent bodies, have half a million beyond just the words. visitors collectively. Art offers an open space based on personal “You can encounter the culture scene in places both impulses, and does not operate under commerci- expected and unexpected: in basements, on stages, al terms. That’s why it’s so important that society in rehearsal rooms, in outdoor environments and supports an arts and culture scene.” waiting rooms. The culture scene in Gothenburg is

15 Art in public spaces

Installations in housing areas and paintings in is the beginning of a work in which JuanPedro­ multi-story car parks. As well as managing public Fabra Guemberena explores who has the right to art projects through the Charles Felix Lindberg claim culture stories and landscapes. Moheda is Donation Fund and ‘Safe, beautiful city’, Göteborg the small town in the southern Swedish province Konst has a mandate to facilitate the one per cent of Småland where the artist arrived as a refugee rule work. Since 2013, every publicly financed from Uruguay in 1979. It took a couple of months new build or refurbishment in Gothenburg must to produce the work in the premises on Hjällbo­ earmark one per cent of the costs for art. torget and it’s now being shown in the evenings for “This ensures that people encounter art in their a period of time. everyday lives,” says Sarah Hansson of Göteborg Apart from the story the work tells, it is also Konst. special and unusual since it is the first time an inter­ pretation assignment commissioned by the City When the greengrocer in Hjällbo Centre has closed has resulted in a situation-specific, temporary art for the day, not much is happening on the square. project. A man is out walking his dog. There’s a large group Public art commissions are usually required to be of teenage boys hanging around outside the super- linked to a particular place or building, and also to market. be permanent. But a closer look at the premises next door to the “We have a mission to represent art as it is today. supermarket reveals that something is going on. With that in mind, the work methods must the- The studio may be locked up and the lights are off, refore be fluid and expansive if they are to support but inside a video work is running from floor to contemporary art’s development and eagerness ceiling. The film shows an actor, Segal Mohammad, to comment on social development,” says Sarah portraying experiences of being a refugee. She plays Hansson, Process Coordinator at Göteborg Konst. a superhero with superpowers. A large part of her job is spent talking about The film is based on real-life testimony from art, about its function, its benefit. Or rather how young people in Hjällbo and Angered. function and benefit should not be pre-program- The Children from Hjällbo (Children from Moheda) med into art. And why money should be invested

16 in something where the benefit cannot easily be that some kind of art will be procured. Göteborg measured in finances and bar charts. Konst appoints an art consultant with knowledge “Sometimes the clients we meet want the art to of different artistic processes, and of what kind be decorative, to solve social problems or serve as an of artistry might be appropriate for the project in aid for playing and compensate for the lack of green question. Then follows a discussion process between spaces and play facilities in the city. But art needs the parties, and a formal order is placed including to operate on a freer foundation. When an artist is a contract and details of the type of artistic output allowed to react to a place or situation, that’s when the project relates to. In the next stage a number art has the potential to really ‘work’ and communi- of artists are selected, and they are asked to submit cate,” Sarah explains. their outline sketches. The working group then Since the late 1930s, there has been an idea and decides which concept will be ordered. The artists an endeavour in Gothenburg that all citizens should create the piece of work, it is inspected, the ribbon have access to art, for the purposes of democracy is cut – and the people of Gothenburg have a new and public education. The ways in which art can be work of art! linked to new building construction has changed Since the one per cent rule was introduced in over the years. Following many years of concerted Gothenburg, the city has been enriched with many effort, in January 2013 a new mandatory require- new works of art. These include a moving sculpture ment was introduced – mandatory in that it cannot in Redbergsparken and lit pillars in the entryway of be ignored: the City of Gothenburg’s administra- a housing block in Kvillebäcken. tions and wholly owned companies shall earmark “To some people art is necessary, while to others one per cent of the cost of new builds and refurbish- it’s apparently uninteresting, at least until they are ments for art. provoked in some way. But like so much else, our In broad terms when, say, a new housing neigh- relationship with art and how it communicates to us bourhood is to be built or an existing one is to be can change with time. We are more or less receptive refurbished, the building contractor gets in touch to different communicative expressions in different with Göteborg Konst to book a joint start-up periods of our lives,” says Sarah Hansson. meeting. This meeting leads to a written agreement

17 18 19 “Young people should be visible, be heard and have the possibility to create”

Venue, sound engineers, posters, microphones… programme selection committee, whose members get There’s a lot to think about when organising an together weekly, to review the various ideas that have event. A young person who has an idea can go to come in. Frilagret and get help making it a reality. The group of three look at how well an event fits in with the venue’s guidelines: the initiator is aged What does it matter if the icy winter winds are between 13 and 30, the event does not infringe blowing across Järntorget square? Inside Frilagret, upon the City of Gothenburg human rights policy, the Friday is warm with Jamaican sounds in the it is an open event (not a private party), and the air. On stage, artist Etzia is giving her all to put admission fee, if any, is no more than SEK 50. us in a good mood. The venue is far from packed, “When Frilagret opened in 2012, we had around but there’s a wonderful buzz of activity around the 200 events in one year. Last year we had almost 600 stage. Closest by, Ellen Lissbrant is dancing and and we always try to make room for every means because of the music has to shout her answer to my of expression, from art and discussion to dance and question: theatre,” says Ellis Holmberg. “I love Afro-Caribbean music and Frilagret has The programme selection committee said yes everything I like: colour, mixed audiences, joy!” Her to Aurelia’s idea. A week or so later, she and Ellis friend Matilda Sande agrees with a nod and a smile, met over coffee in the Frilagret café, and Aurelia and then they lose themselves in the music again revealed more: and carry on dancing. “I wanted to arrange an evening of Afro-Carib- Frilagret is an arts centre for young people, bean music with performances by several bands, housed in the old warehouse building between dancers, DJs and spoken word artists. All with an Järntorget square och Rosenlund. overriding message of anti-racism and feminism,” It was September when Aurelia Kisseih called she says. Frilagret and told them about her idea. Programme The idea behind Frilagret is that young people Coordinator Ellis Holmberg took her proposal to the from all over the city should be able to get help

20 turning their ideas into reality. It could be a 14 year people might turn up, Frilagret also decided to old wishing to host a clothes-repair workshop, a hire two security guards. Frilagret always wants to 28 year old who wants to swap plant cuttings with guarantee a safe event. Whatever the type of event, others, or young people from a club who want to one thing always remains the same: the young hold a debate about everyone’s right to culture. Or a initiator pays nothing. pair of girls in their late teens, wanting to organise a Frilagret also works consciously to lower thres- party that they themselves would have liked to go to holds. Even people who are younger, have less expe- when they were young teenagers. rience or a mental or physical variation of function Ellis Holmberg and the other Programme should be able to organise, create and enjoy culture Coordinators see a great need for places where the at Frilagret. city’s young people can hang out. They are often met “We want to make it possible for young people to with a sense of joyful surprise from event organisers be seen, heard and have the opportunity to develop when they hear about the opportunities for young in their creation. They should be included in society people at Frilagret. and in the area of arts and culture. “Rather than starting from what the programme There are young people who can organise a great selection committee knows about, our point of event, but they have difficulty filling in forms. That’s departure is what the young organisers want and the kind of thing we can help out with,” says Ellis. how those ideas can best be achieved. We make no And Aurelia, who arranged the night, what does artistic assessment whatsoever,” Ellis explains. she have to say? In the case of the Afro-Caribbean night, Aurelia “It’s great that Frilagret exists. It allows space for a Kisseih had a clear idea and had been in touch lot of art and diversity, and the staff are friendly and with the necessary contacts, but she had no venue welcoming. I think a lot of future event organisers and needed help with sound engineering, lighting are born here,” she says. and marketing. Since it is not easy via a Facebook event page to get a reliable idea of how many

21 22 23 24 25 Culture rolls in

When you’re no longer able to get to arts and Most of the audience sing along to some of the culture, arts and culture have to come to you. better-known choruses. This is the basic idea behind the Cultural Affairs Så in i Norden is a Nordic trio that has been Administration’s Speldags initiative. around for ten years and they come together every “For us, Speldags is about the joy of living,” says now and again. Today the gents are finishing off an Britt Ramsten. intensive two-week tour of homes designed for the elderly and Träffpunkten meeting places for seniors, The walking frames are parked in a row outside the organised by Speldags. common room at the Grevegården home for the “This is so important, being able to experience live elderly. There’s chinking in the kitchen. Rebecca music even though you can’t get to concert venues. Torisho is setting out cups and biscuits for the 20 Gothenburg has long been a leader in culture for or so residents who comprise the audience. There’s a senior citizens,” says Lucas Stark, who has for sense of anticipation in the air. many years regularly toured for Speldags in various “Many of our residents love Speldags,” says musical constellations. Rebecca. “It’s usually music, but it could also be the Producers Britt Ramsten and Nestor del Castillo Lucia procession in December or a flamenco show.” of the Cultural Affairs Administration are respon- Rebecca Torisho is in charge of the activities at sible for the programme on the 77 stages across Träffpunkten, the home’s meeting place, which is Gothenburg’s various city districts. The Speldags also open to non-residents. On today’s date in the entertainment scheme has been around since 1969 diary it says ‘Speldags: Så in i Norden’ (which trans- and is tremendously popular not just with audien- lates roughly as ‘So Very Nordic). ces, but also with cultural workers in West . Swede Lucas Stark, Dane Nicolai Engström and Giving the region’s skilled cultural workers the Leo Leonardsen of Norway are tuning their guitars. opportunity to perform at different venues is also an They kick off with a Swedish folk song, followed by aspect of the scheme. Of the 400 or so stage artists songs from their various countries with a bit of chat who sign up to take part every year, around half get and a few anecdotes in between. to perform, according to Britt Ramsten.

26 The programme includes everything that can be As well as being a producer, her colleague Nestor done on stage, such as magic, theatre and dance, del Castillo is also a musician – the perfect combi- although most performances involve some kind of nation for the job. With activities on for 44 weeks music, from rock and pop to folk songs. of the year, programme planning is quite a task “It has to be high quality, and we want the artists which involves filtering out the most suitable acts to do what they’re good at, rather than adapting to and putting together a varied, attractive programme what they think elderly people will like. Tastes don’t for Gothenburg’s oldest culture fans. suddenly all become the same after the age of 65. “For us, Speldags is about quality of life,” Britt Another key requirement is the ability to create a Ramsten concludes. connection with the audience. If they can’t establish that connection, it doesn’t matter how good they are as musicians,” Britt explains. “Artists often call me after a tour and tell me how amazingly fun and rewarding all the audience contact has been. I think it’s the fact that Speldags brings so much joy both to the seniors and the artists that makes working with the scheme so rewarding.” With the ambition of increasing senior citizens’ influence over their everyday lives, Britt Ramsten and Nestor del Castillo sometimes organise a kind of audition, where a selection of interested artists play to a reference group of seniors, who then give their views on what is suitable for their particular home. “I used to work in senior care and have also devoted most of my leisure time to dance of various kinds,” says Britt.

27 28 29 THE LIBRARY – LITERATURE, DEMOCRACY AND FREE SPEECH

Right in the heart of Gothenburg are some enticing libraries that invite visitors to sink into an armchair, catch their breath and reflect a while. These are places for personal development, somewhere to form our own opinions on any number of issues by reading, listening and taking part in activities. Or indeed, somewhere simply to get a few moments’ peace and quiet. A library is not just a place to borrow books. It is much morefar-reaching, always with knowledge and education in focus.

30 Some 5,000 people come to Gothenburg City parents read more to their children at home, and Library on Götaplatsen square every day. Just over also visit the library more often. A wider vocabulary 900 come to the 300m² Library at Brunnsparken. is used and children grow up with a richer language. Once here, visitors can browse through thousands “At the library, we work to get children and young of books and publications, use a computer, play people interested in reading. That’s why we focus board games, attend a workshop or listen to a talk particularly on these groups, the aim being that on astrophysics in the lecture hall. everyone should feel that coming to the library is “Libraries are free, undemanding settings. The relevant and exciting. Children’s and youth literatu- hub of the library is the literature, founded on re, along with our activities, contribute to language freedom of speech and opinion. It’s also important, development, and help to ensure that children carry of course, that we support people’s personal initiati- on reading and seeking knowledge as adults. ve and interest in reading and learning – after all, we In this way we help to increase equality in can’t control visitors’ behaviour, only attract them in. society,” says Anette. Enabling people to come here and be able to learn Literature can play an important role for those new things, question facts and ideas, re-evaluate and newly arrived in Sweden who are learning the even grow a bit – this is a major task for us at the language. Easy-to-read books in Swedish, group library. Lending books may be what gets noticed language lessons, book groups and readings in their because it’s so visible, but we achieve our aims in native tongue are some examples of how libraries many other ways too,” says Anette Eliasson, Head are important to language learning and to integra- of the Library sector. ting with Swedish society. Acting as an agent for knowledge and working The library should be accessible to everybody, and for democracy and freedom of opinion are what the should start from people’s needs and circumstances. Library Act defines as the basic mission of Swedish For those who are unable or don’t want to come to the libraries – and that mission extends far beyond the actual library, there is the digital library where audio walls of the establishment. For citizens who are books and e-books can be downloaded. It should be unable to get to the library, there are mobile libra- easy to acquire knowledge and develop one’s interest ries which serve all of Gothenburg’s districts several in literature, education, and arts and culture. times a week. Every month, around 100 pre-schools “We want everybody to feel welcome at the in Gothenburg receive a visit from a mobile library. library. Obviously we would like visitors to look Moreover, new parents can have a librarian visit at and read the literature, but that’s absolutely not them at home. a requirement. Providing people with a beautiful The City of Gothenburg is involved in the environment with pleasant lighting, colours and Swedish Arts Council’s pilot project Bookstart, in ambience, a place to come and visit without having which librarians visit parents’ homes when their to pay – that feels important and meaningful. The baby is six months old. The parents are given books library is a social place, a place where people can get and information about children’s language deve- a sense of coherence. It’s nice to work with this kind lopment, and the importance of reading out loud of mission, and I think everyone who works here to them. This is a method that has already been feels that,” says Anette Eliasson. success­ful in many other countries. As a result,

31 Libraries enrich children

A young couple are trying to get their one-year-old her colleagues were dreaming of and hoping for interested in a picture book. Some other parents are when the City Library was re-opened in 2014 after chatting while their little one explore a soft Findus its refurbishment. the cat toy. A grandmother sits on the steps reading “Even though the youngest children don’t un- to her grandchild, who is leaning on her shoulder. derstand the content of the books, looking at them “This is exactly what we want,” says Anna plants emotional memories. Mum or dad is relaxed Hedlund, a Creative Pedagogue at the Gothenburg and happy. The children associate books with City Library. positive things,” Anna explains. The section for the youngest children clearly It’s Friday morning. The library has just opened. A illustrates the change now taking place at all of dozen or so prams and pushchairs are parked by Sweden’s libraries, from being transaction libraries the department for the youngest visitors and their to relationship libraries. Rather than being there adults. The light, soft carpet indicates where the just to lend books and accept returned books, the department starts and finishes. To enter, the visitors library should build relationships. Between people have to take off their shoes. and literature, between people and the community, As Anna Hedlund looks out over the gentle between generations and between social groupings. bustle, she not only sees adults and children having The layout of the City Library’s various sections a nice time together. She sees an activity where for children of different ages is a result of its two- children can come into contact with books on their year-long closure for renovation. During that time own terms, someone taking a break from reading the books and operations were relocated to other and playing with a doll linked to the world of books, venues: the youngest children had space at Röhsska someone else finding their favourite book and Museum, while teenagers were referred to the taking it over to their dad. . “And over there,” says Anna, “are some parents “We took the opportunity to try different ideas sitting together chatting while their children play out at each place,” says Anna Hedlund. “What with picture books.” This is exactly what she and happens if we put in a soft carpet? If we use lower

32 shelves? If we make creative spaces where children grandma and their mother Anna, who is also here and adults can not only read but also draw, paint today. She is doing a college course and often and crochet? We came to a lot of conclusions, which spends time studying at the library. we then brought into the new library.” A tiny tot crawls quickly over the soft carpet When the City Library re-opened, not only the between the book shelves, sights set on a happily premises were new; so was Sweden’s Library Act. smiling mum. Anna Hedlund tells the story of It was largely the same as the old one, but with a a three-year-old visitor whom she (discreetly) clarified mission. The library should no longer just watched building a motorway of books across the be a place that provides books, but also one that room. He was very focused, and took great care to actively strives to ensure that children are read with find books of the same width so the edges of the – and note read with, not read to. Attitudes towards road were even. When he was finished, he grabbed reading with children have changed. It is no longer his toy car and drove back and forth a few times. about one-way communications, whereby adults Then he sat down, picked up one of the books and read to children, but more about a shared experience started browsing through. where both parties take part in choosing a book, “It was a wonderful thing to see – and it would talking about the book, and of course the shared never have happened in the old library where the time and space. The voice. floor was hard and the books were not to be played “We know today that there is no better way than with,” says Anna. reading to absorb language, to understand and inte- The change has not been without controversy. grate with society. Research shows that 80 per cent According to critics, books should be allowed to of our vocabulary comes from reading,” says Anna. speak for themselves. Why include toys, or even The grandmother on the steps is called Yvonne allow playing? Mikulandra. The grandchild by her side is Gino, and “This way of designing libraries is spreading he holds up four fingers when asked his age. His across Sweden. It does require more of us as person- little sister Elora is crawling back and forth between nel in that we have to understand young children

33 and tidy up after them if they’ve carried books off to and book clubs meet. Because, in addition to space, the wrong places. It’s a whole new way of thinking. I books and personnel, the library also offers a more can’t see any other way to go,” Anna says. scheduled range of activities. But the idea is not to transform the library into One day every other week there is reading aloud an indoor play centre; it’s about reading, borrowing in Swedish, and every week in other languages. On and playing calmly. Moreover, nothing has been set one day there is theatre, film or an author visit. For in stone. The personnel are always nearby, observing slightly older children there are e.g. book clubs, and evaluating. Can we have cars, or do they make writing workshops and homework sessions. the play too lively? Is it a good idea to let people eat Anna and her colleagues have worked hard to their packed lunch anywhere except on the light create a suitable forum for the youngest visitors. carpet? And what to do when visitors’ needs clash? There’s also a lot happening for slightly older Anna wants her workplace to be open and children, but right now the focus is on the youngest. inviting, but when homework and video games and On a chair in the middle of a circle of book dressing-up clothes all need to be accommodated shelves sits Rebecca Fjell, with a stack of books on for under one roof, and with an acceptable noise her lap. She has a day off today, spending it with her level, that’s when things can get a bit difficult. five-year-old son Leonard. They’ve been to a café in “It’s quite a nice problem to have, that everyone town and are stocking up on books to finish off. wants to be here, and we try to make it as good as Leonard’s older siblings – August age 10 and Iris possible for as many people as possible.” age 7 – are big readers. To preserve and satisfy the classic purpose of a “We’re at the library almost every week, either library – quiet reading – the round room, Tellus, was here or in Gamlestaden, or at Kåken in Härlanda,” created. This is where organised readings are held says Rebecca. “This really is a fantastic place!”

34 35 36 37 A valuable living room for young people

High school students who need help with their work with young people at a combined school and maths, classmates who want to hang out without public library in Trollhättan, he changed his plans. having to go to a café, and teenagers playing games. Today he manifests the very ideal of democratic “We want to be the alternative living room,” says space, open to everyone regardless of financial situ- Anders Olsson, a librarian at Gothenburg City ation. He believes in the idea of gently directing the Library’s Dynamo department. operation and visitors’ behaviour, while remaining receptive to what they want. Reading aloud? Games Since it’s a Wednesday, the voluntary Mattecentrum tournaments? Book clubs? maths club has reserved the coffee tables on the Anders has worked with Dynamo since the City ground floor where Dynamo is. Today’s volunteers Library re-opened in April 2014. Alongside his are getting things ready. One after the other, the colleagues, Creative Pedagogues Frida Ulvegren visitors turn up and unpack their books, note books and Christina Roos and librarian Jonas Asp, he and calculators. Anyone who needs help puts their has developed, managed and closely monitored the hand up and waits silently for their turn – just like scheme and its visitors. Many of them are late-te- in school. But that’s pretty much the only way that a enage boys who have recently arrived in Sweden. weekday evening at Dynamo is like school. They spend a lot of time at Dynamo, some of them “We aim to be a social, undemanding place. No because they prefer the library to being at home. lecturing about what’s good literature and what’s Here they can talk to each other and the personnel, bad literature. Here, all reading is good. Often, do their homework, borrow an easy-to-read book visitors who play video games grow curious about and play games, both video and board games. the film, and then the book. The games lead into the Habib Ullah Usman is sitting on a bench, curled world of books,” says Anders. up over a Swedish–English dictionary. He arrived When he was training to be a librarian, Anders in Kallebäck two weeks ago from Kandahar in envisioned a working life among researchers at a Afghanistan. He now wants to learn Swedish as university library. But following some temporary quickly as possible:

38 ”Hej! Vad heter du? Hur mår du? Bra.” (Which “The department immediately grew calmer, the translates as: “Hello! What’s your name? How are groups were smaller and the volume went down.” you? Fine thanks.” ). Playing board games is not quite as all-consu- The idea behind Dynamo is to be a place where ming and doesn’t lead to quite the same noise level. all young people feel welcome – an ambition that’s The first thing visitors now see on the big screen is not always that easy to realise. instead a flaming fire. “We want as many people as possible to feel com- In front of the screen are a few beanbags. fortable here, and it can be a challenge to balance all “Look,” says Anders with a smile, nodding the different perspectives at the same time,” Anders towards the screen. explains. Three youngsters come sauntering in, see the fire He looks out over the department and remarks and flop down onto the beanbags. This is Kasper how relatively simple it actually is to influence Grip and two classmates from Vasaskolan, hanging what goes on in the space, what the atmosphere is out together a while after school. like, and who comes to and stays in the space. Just “We come here sometimes to sit and chat or under a year ago, for example, the personnel put study. It’s cosy and calm here, not hard and cold like a long table close to the staff counter. The table is McDonald’s or a café.” covered in a wax cloth and provides various kinds of The group rarely borrow any books, but today material, scissors and glue for small-scale crafting. one of them is collecting a Manga book she’s been “It’s a creative space that immediately became a waiting her turn for. popular place to sit and chat while doing something Dynamo has been very much about exploring with your hands. It immediately made its mark on what works since it started four years ago. the room,” says Anders. “We’ve now reduced the number of activities A few days ago the department made a dramatic somewhat and are going to review how things are change when it removed the extremely popular going. What do we want it to be like? What should video soccer game FIFA from its list. our next step be?” Anders Olsson concludes.

39 40 41 42 43 MUSEUMS – A CONTEXT IN TIME AND SPACE

What does being human entail? How did society get to be what it is? How does it all fit together? And who am I? These are the kinds of questions a museum can provoke, and also answer – in conversation with its visitors. A good museum equips us for life.

44 Every year more than 700,000 people visit one of “A museum that doesn’t care what’s going on the City of Gothenburg’s four museums, many of in society can never be relevant in people’s lives. them children and young people. For school groups We need to listen to the context we act in and to there are free learning opportunities in design, art, people’s varying circumstances if we are to inspire a culture, nature and history. public interest.” “But the idea that museums should educate is That’s why it’s absolutely necessary that museums outdated. Now we say, ‘Hi, we want to talk with enable visitors to be active, participate, be listened you!’”says Britta Söderqvist. to and develop a relationship with other visitors and She is Head of the Maritime Museum & the institutions. Everyone should feel welcome. Aquarium, Röhsska Museum, Museum of The museums are constantly striving to find new Gothenburg and – ways to arrange and present their extensive collec- four museums with different profiles and areas of tions. To make selections. To provoke a question. To focus, but all with a shared mission: to actively foster, make the question more interesting and complex. examine and communicate stories about mankind “There is of course a lot of mystery associated and the world we live in. To move and provoke. with collecting, but there is power in the material. “Museums can offer an opportunity to slow down People can and want to relate to the things they in everyday life and reflect. To gain perspective, take have around them. I’ll never forget when I saw in different messages and get a sense of context Napoleon’s hat. My immediate, perhaps quite in time and space. These are fundamental to our childish reaction was, ‘This actually happened.’ The well-being as humans,” says Britta. physical objects serve a purpose,” says Britta. She stresses that one of the museums’ most She also mentions that the museums are products important functions is to help enable more people of their collections, and that the gaps in the collec- to start thinking critically and form their own tions also tell us something. More voices and more opinions. Thinking, creative people are needed in experiences are needed today to bring out the full our society who can meet and negotiate with others potential of the collections. New questions must – people from history and those alive today. be asked of the collections to find new angles and In our modern age the world has shrunk, while perspectives. the distance between people have grown. People “There is a tremendous craving to see different strive both to belong to a group and to express their objects. We want the collections to be available to identity. History, art and culture are often tools for scientists and others who want to use them. We strengthening communities – but can also be used want to be at the community’s disposal.” to shut others out.

45 The importance of preserving artworks

If future generations are to see with their own Along with one of the museum’s curators, Eva eyes what Picasso created, preserving the works Nygårds, she shows and talks about the profession is crucial. Paper conservator Mariateresa Pullano and the conservator’s role in the museum world. puts on her gloves before carefully turning the All organic materials age, the key is to slow the painting over. ageing process as much as possible. This is achieved by handling and storing the works in the optimum The conservators’ room is neither hot nor cold, way. This might include replacing the paper surroun- there is no smell and the light is a bright white – ding a drawing, for instance. If the underlying paper the optimum environment for handling sensitive, liner and the picture mat are acid-free or at least of valuable works of art. low pH, this is better for the piece in question. With “Over there is a wet area for working with water 60,000 works on paper in the museum’s collection, and chemicals of different kinds, and here is the dry looking after the works’ best interests is a mammoth area,” says Mariateresa. task. Even so, it is on Mariateresa’s to-do list. The dry area includes a desk with a PC, a tool for Every year, Gothenburg Museum of Art lends cutting paper and a lightbox, currently holding a hundreds of works to museums and art institutions watercolour entitled Youth of Gosol, painted in 1906 in Sweden and abroad. It is often a request from by one of the world’s best-known artists. The work such an establishment that causes a particular work is from the end of ’s Rose Period, to be examined – and carefully examining a work when the paintings were colourful and dominated is usually what the process is all about, rather than by warm shades. Connoisseurs have speculated as rectifying any damage. to whether the picture really depicts a youth in the This was the case with Picasso’s The Acrobat Catalan village of Gosol, or whether it’s actually Family, which is one of the Museum of Art’s true Picasso’s partner Fernande Olivier who is portrayed. treasures. Like Youth of Gosol, this painting of the This very seeking to find the artist’s intention, man in the harlequin costume, the woman, the child feeling and method is one of the most exciting aspects and the monkey is from the artist’s Rose Period. of the conservator’s job, according to Mariateresa. It was already in 2016 that a museum in Paris got For the past four years or so, she has been housed in touch with a request to borrow the painting for a several floors up in the Gothenburg Museum of Art major exhibition of Picasso’s works. on Götaplatsen square.

46 “The Acrobat Family has been on loan a few times Working alongside her during those weeks was before,” says Eva Nygårds. “For instance it was in Eleonora Papa, who is linked to the Department Kiruna City Hall in northern Sweden during the of Conservation at the University of Gothenburg. 1960s, in a project to bring art to the LKAB iron Together the they studied the paint, frame and ore miners, but now it’s been quite a few years since paper in great detail. The in-depth documentation we’ve lent it to anyone. Nowadays there are comple- also includes photographing the work using raking tely different requirements on museum objects as light, infrared and ultraviolet light. unique artefacts. We know that a loan always entails Picasso’s The Acrobat Family was one of the first a risk. For instance there could be turbulence during works by Picasso to be bought by the influential transport which knocks the piece.” art-dealer siblings Gertrude and Leo Stein, and this For a loan even to be considered, the museum marked the starting point of Picasso’s career. has to know the exact condition of the work. And The painting eventually ended up in the collection knowing that is the job of a truly skilled conservator. of Gothenburg art collector Conrad Pineus, and the One of the main aspects is a sense of trust between Museum of Art then purchased it when he sold it the museums. Having a good conservator is crucial in 1922 – for the price of 14,000 Swedish kronor, to the whole lending and borrowing system as it roughly equivalent to 1,500 US dollars. lends seriousness and credibility. “It’s amazing. We would never be able to acquire a So over two weeks in spring 2017, the work was work like this today,” says Eva. taken down from its place in Gothenburg and It turned out that Picasso’s The Acrobat Family was replaced by a smaller drawing by Picasso. And in in pretty good condition bearing in mind the sensi- the conservators’ room, what sounds very much like tive materials and techniques involved. Whether the a surgical procedure was performed: the painting painting will be loaned to the Paris museum or not was ‘opened up’. has yet to be decided. “For that I wear a coat and gloves, and then “But we do know that thanks to Mariateresa carefully loosen the frame and raise the glass,” says Pullano’s expertise, we have a far better foundation Mariateresa. on which to base our decision,” says Eva.

47 48 49 50 51 The fortified city

A moat, walls, gates, booms, redoubts and bastions. Gothenburg’s City Development Department. Four hundred years ago, Gothenburg was built to On his desk are piles of papers alongside bags be a powerful defence fortress, and still today we containing small objects from excavations. On can see clear traces of the original city plan. Major the wall are two framed pictures: an aerial photo construction projects are now under way, and it is showing central Gothenburg from above, and an the job of the Cultural Affairs Administration to 18th century map. He points to them and indica- ensure that the links with the fortified city are not tes the similarities, which are striking: the route of cut off. the streets, their names, the Vallgraven moat and its characteristic zig-zag shape alongside Kungs­ Gothenburg is growing and the cityscape is parken and the Garden Society of Gothenburg. changing. Excavators are digging away, buildings He says that the Swedish National Heritage Board are shooting up, and underground a long railway has picked out central Gothenburg as an area of tunnel is being built. In the years to come, the city national interest, that it contains cultural values must make room for 150,000 new citizens. Many that are so unusual that they’re considered to be of construction projects are under way in central importance to the entire nation. Gothenburg– in the part that features the very – In certain parts of the city the traces of the oldest parts of the city, with Sweden’s leading fortress city are still strong, and in other parts these examples of Dutch-inspired canal town planning, traces can easily be highlighted and joined together, surrounded by fortifications. so that still today we can see and understand how “Everything that happens in the city’s develop- Gothenburg was the gateway to Sweden and part of ment is a link in a chain. If we cut off that chain, we the nation’s border defence to the west. can no longer understand the origins of the place, Alongside the City Planning Authority and the and then we lose our coherence altogether,” says Traffic and Public Transport Authority, the City Tom Wennberg, an archaeologist at the Museum of Development Department has produced the shared

52 programme of action Gothenburg Reinforced: The When it comes to the railway tunnels, Fortress City. It has designated various places in the the brief is to ensure that the cultural-historically central city as important to emphasise. Measures valuable environments, buildings, parks and ancient and visions are also proposed for four heritage monuments are damaged as little as possible. environments of cultural-historical importance. Indeed, limiting the negative consequences for the The aim is partly to recreate the entrances to the cultural environment was a requirement placed on city which comprised three gates and two booms, the Swedish Transport Administration to build the to create a promenade that links the fortified city West Link in the first place. together, and where visitors can get an idea of how When the major city development projects the city fits together and why. start up, it is important to make the most of every “We really do have a great climate of collabo- opportunity. The story of the fortress city should be ration in the City of Gothenburg. There is tre- there in the future cityscape, and that could even be mendous pressure on construction from various below ground in the West Link station entrances. directions, but we’ve worked on this in a proactive, Thousands of people will pass through there every solution-focused way. There’s a positive spirit, and day, and they can pick up new knowledge along the cultural values are included from the very begin- way which will enable them to see the city with new ning,” says Tom Wennberg. eyes. His colleague Anette Lindgren, an antiquarian, “We’re working concertedly to find solutions to comes by holding a cup of coffee and stops for a protect the cultural heritage environment. We need chat. She agrees that the collaboration with the the whole, because without the whole it’s hard to technical administrations is going well. understand the parts,” says Tom. “We’re making the best of this. Everyone agrees that the cultural heritage issues are important,” she says.

53

It’s about human stories

“With the reference groups, we transfer some of we used as a reference group constantly came back the power and right of decision from us to them. to the objects. They were objects that the pupils I really think this can make a difference so that recognised, so they provided an opportunity to talk we can open the museum to more people. There about vulnerability and the ravages of war.” Using is power in working with others,” says Daniel reference groups as a methodology to make the Finnholm. museum experience more democratic has become standard practice at the Museum of Gothenburg. Daniel is a Learning Officer at the Museum of The approach was intensified a few years ago and Gothenburg, welcoming school classes and other was a success factor in the award-winning exhibition groups several times a week. He likes the Birth of We are Roma. Things have continued in this vein, for Gothenburg exhibition; it is designed to be educa- example in the Funktek project, where people with tional with interactive elements, and there is a lot to different disabilities, or as the museum prefers to talk about which is relevant today. It is semi-dark. say with diverse abilities, were invited to help assess There are loud noises and big bangs. Dogs are exhibitions, city walks and other activities. barking. In working on the museum’s costume exhibition, “When the sound comes through the loudspe- young people from the city have formed a reference akers, I get the audience interested. We talk about group with genuine influence on how the exhibi- what possessions you need when you have to flee,” tion is designed. For instance they have read and says Daniel. The exhibition reveals how the early assessed texts used in the exhibition, pointing out was one of regular war which words they felt were difficult. and conflict. From the late medieval Nya Lödöse, “Words that we may find quite accepted may visitors can wander through 17th century not be natural for them, so we should ideally avoid Gothenburg and see the striking contrasts between those words, such as cotton voile or chintz-like the extravagant Baroque salons and the city’s poor cotton fabric. What does that mean? “With the neighbourhoods. Daniel strolls confidently through reference groups, we transfer some of the power the dim rooms and stops at a display case. and right of decision from us to them. I really think “This armour and these weapons were not ori- this can make a difference so that we can open the ginally going to be part of the exhibition,” he says. museum to more people. There is power in working “But when we were planning it, the school pupils with others,” says Daniel Finnholm.

56 When planning upcoming exhibitions, a Learning The children who come to the museum with their Officer is always involved based on their unique school are often regular attendants, who also visit field of expertise, which is the museum’s interaction museums in their spare time with their parents with the public and the ability to stimulate people’s or grandparents. When the Learning Officers enthusiasm and motivation to experience art and examined the lists of which schools had ordered culture. Daniel has noticed that the young people he learning opportunities, they noticed that schools in meets often have the idea that museums are boring certain areas of Gothenburg had never come to the – unlike the younger children, who genuinely enjoy museum. So the Learning Officers contacted those going to the museum and are fascinated from the schools and offered to visit them. word go. “Going to those schools has been such an expe- “By far the biggest challenge is to break through rience! A colleague and I were in Bergsjön, where the teenage facade and really reach them. A lot of we met children who had never been to a museum them walk around wondering how a load of objects in their lives. We took boxes of stone axes, arrow in a glass case can possibly be relevant to them. My heads and burnt human bones, objects from the job as a Learning Officer is to show them that they Stone, Bronze and Iron Ages. The kids thought it are. It’s about human stories,” says Daniel, pointing was great fun.” to a roughly hewn wooden coffin. Outreach activities are something Daniel is “We often stop right here, there’s so much to talk clearly very proud of, and he is convinced it has a about. Everyone can relate to this coffin as there’s big impact on the children. Most of the classes they actually been a dead person in it,” he says. “It’s about visited have now decided to come for an on-site our history. Without that, we don’t have a context.” visit to the museum. The encounter with high school students helped Hosting learning opportunities, essentially lessons Daniel make his career decision. He had a tempora- at the museum, is part of a Learning Officer’s job ry job and was telling some students about political description. Another aspect is being involved in the ideologies ahead of the parliamentary elections, design of new exhibitions, and producing educatio- which made him realise that being a museum nal programmes and teacher’s guides. Daniel is also Learning Officer suited him. coordinator of the educational network, in which all “It really was a wow experience! Many of the of the Cultural Affairs Administration’s Learning youngsters didn’t know much about political history Officers meet every month. and what the different ideologies actually represent At the moment he is planning a conference on or where they come from. So they listened and outreach activities. He is particularly pleased that learnt a lot. I sat with them a while afterwards, and the South London Gallery will be attending the based on their new-found knowledge we had quite confe­rence to talk about its successful, award- a rewarding discussion about the current social winning outreach. climate. It was a way for me to understand that this “It’s important to be able to gain international is very important work.” perspectives. The world is, after all, bigger than Gothenburg, and we can learn a lot from others.”

57 58 59 Committee regulations

The Cultural Affairs Administration’s commission from the City of Gothenburg is formulated in a set of regulations. They regulate our fundamental mission, which says that we should drive and coordinate the City’s strategic cultural work, and support and promote art in its various forms and the conditions for artists in Gothenburg. The Cultural Affairs Administration shall manage and de- velop public cultural institutions and meeting places, such as museums, libraries, stages for guest performances and arts centres. In addition, the Administration shall contribute to the development of cultural values in city development.

60 The Culture Programme

The Culture Programme is a steering document for the whole of the City of Gothenburg. It was adopted by the City Council in 2013.

The art policy Art policy involves creating good, sustainable conditions for art and artists.

The City’s art policy shall: » Maintain the integrity, independence and inherent value of art » Promote artistic freedom of expression and quality

The cultural policy Cultural policy involves promoting participation, intercultural dialogue, and people’s desire and motivation to enjoy and practise art and culture.

The City’s cultural policy shall: » Increase social cohesion » Stimulate people’s participation and own creation » Protect, nurture and develop the cultural heritage, while also making it available » Strengthen work to promote democracy and equality

The cultural planning Cultural planning encompasses measures to create an attractive living environment in the city.

The City’s cultural planning shall: » Clarify the city’s character and history » Lay a good foundation for sustainable development » Increase opportunities for the people of Gothenburg to influence the physical environment

61

The Cultural Affairs Administration’s public cultural institutions and meeting places attract 2.5 million visitors every year. We contribute to city development, and drive and coordinate Gothenburg’s strategic cultural work. Art in all its forms and the conditions for artists in the city are supported and promoted. This booklet presents some of our personnel, who help ensure that Gothenburg develops into a leading city for art and culture, and a sustainable city in which to thrive and live a good life. This is the story of the Cultural Affairs Administration. And how we work to expand worlds.