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Tracing the Musealisation of Swedish National Parks

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Tracing the Musealisation of Swedish National Parks Visual Studies ISSN: (Print) (Online) Journal homepage: https://www.tandfonline.com/loi/rvst20 Descendants of the modernist museum: tracing the musealisation of Swedish national parks Emelie Fälton To cite this article: Emelie Fälton (2021): Descendants of the modernist museum: tracing the musealisation of Swedish national parks, Visual Studies, DOI: 10.1080/1472586X.2021.1884501 To link to this article: https://doi.org/10.1080/1472586X.2021.1884501 © 2021 The Author(s). Published by Informa UK Limited, trading as Taylor & Francis Group. Published online: 25 Mar 2021. Submit your article to this journal View related articles View Crossmark data Full Terms & Conditions of access and use can be found at https://www.tandfonline.com/action/journalInformation?journalCode=rvst20 Visual Studies, 2021 https://doi.org/10.1080/1472586X.2021.1884501 ARTICLE Descendants of the modernist museum: tracing the musealisation of Swedish national parks EMELIE FAÈLTON Swedish national parks face a shift, transforming them from its understanding of tourism as a threat to nature spaces where tourism is a sub-interest into spaces where (Lundgren 2009, 2011). This kept tourism at bay for tourism is a primary focus. Through the establishment of decades (Zachrisson et al. 2006). new instructive installations, the intention is to make these parks Europe’s most popular nature-based tourism Today, the parks face substantial regulatory changes (Mels destinations. Such installations construct the non-human 2020), but also a displacement1 in their approach to tourism, world, often depicted as nature, and contribute to shaping whereby it is being transformed from a sub-concern into human understandings of nature. In this article, I seek to a main interest (Fälton and Hedrén 2020). In this article, I argue trace, make visible, and problematize how knowledge of that they are about to reach the culmination of what Starbäck nature is put to work and how power operates through predicted over a hundred years ago – a musealisation process. these installations, but also how the non-human world is The agency responsible for nature conservation, The Swedish produced visually, and how all of this produces specific Environmental Protection Agency (hereafter SEPA), has ways of seeing it. This is enabled by a discourse analysis invested heavily in transforming the national parks into with visual ethnographic influences, in which I focus on tourism destinations. Among other projects, strategies for representations with an emphasis on design, content, and creating a collective identity (SEPA 2011a), a brand (SEPA posed rationality. The analysis is designed in a reflexive- 2011b), and a visual design platform (SEPA 2012) have been explorative manner, where the empirical context leads the developed to create a united trademark. Related to these, SEPA analytical direction while the research process and its steps has revealed its hope of making the parks popular nature-based are presented systematically. Through this analysis, I argue tourism destinations that let tourists take part in ‘enriching that the national parks are transformed into museological experiences in Sweden’s most notable nature’ [my transl.] organisations similar to the modernist museum, centred (SEPA 2011a, 13). around educating visitors by displaying ‘real nature,’ and that this has implications for how the non-human world is Like national parks worldwide, those in Sweden are understood. The most prominent of these is that a distance positioned as environmental protectors of the non- is promoted between the tourists and the non-human human world, often depicted as nature (Mels 1999, world. 2020). To encourage people to cherish nature, SEPA concludes that increasing the number of visitors and a strong focus on displaying nature visually are the keys to success. Hence, the agency has made extensive efforts INTRODUCTION to upgrade the instructive installations in the parks In 1915, six years after the first Swedish national parks (SEPA 2011a), which today number 30 (SEPA 2020a). were established, the nature conservation enthusiast In other words, the emphasis on the visual, and Karl Starbäck anticipated that their establishment displaying the non-human world to visitors in order to would lead to the creation of national outdoor educate them are central components in the ongoing museums, with the potential to attract visitors tourist displacement, which corresponds to an (Conwentz and Starbäck 1915). Despite his predictions increased role for visual experiences in contemporary and the growing tourism movement’s efforts to enable societies in general (e.g., Evans and Hall 1999; Mirzoeff travel to the parks, they did not achieve such a status 2009, 2013; Mitchell 1994; Rose 2016; Sandywell and due to the growing nature conservation movement and Heywood 2017). Emelie Fälton is a Doctoral Candidate at the Unit of Environmental Change, Linköping University. Her research inhabits the intersections among visual culture, environmental humanities, critical tourism studies, cultural geography, and media studies, where problematisations of how the non-human world comes into being through human ways of making sense of it constitute the core. © 2021 The Author(s). Published by Informa UK Limited, trading as Taylor & Francis Group. This is an Open Access article distributed under the terms of the Creative Commons Attribution License (http://creativecommons.org/licenses/by/4.0/), which permits unrestricted use, distribution, and reproduction in any medium, provided the original work is properly cited. 2 E. Fälton Despite an increasing number of studies on national into being and how its relationship to the human world is parks as visual, discursive, and/or meaning-making posited, a reflection upon the installations’ potential spaces (e.g., Cronin 2011; Grusin 1995, 2004; Mels implications for how humans understand and relate to the 2002; Patin 1999, 2012b; Rutherford 2011), studies non-human world will be enabled. This can provide new approaching their installations with visual insights into the national parks and their instructive methodologies are sparse. Grusin (2004) and Mels installations as products of systems of discourses, rather than (1999) have briefly touched upon visitor centres as uncomplicated acts of nature conservation (e.g., Cronin display facilities, and Cronin (2011) has focused on 2011; Grusin 1995; Patin 1999, 2012a; Rutherford 2011). In a museum exhibition about national parks. Besides other words, a primary focus of this article concerns how the these examples, there exist two studies that focus non-human world comes into being through the specifically on displays in national parks. Patin (1999) installations and what the productive effects of their has conducted a visual rhetorical analysis of how representations are. techniques of display borrowed from paintings and museums in US parks have turned them into museological institutions. A similar study was carried The Non-Human World out by Bednar (2012), who analysed display When using the term non-human, I refer to the world that technologies in US parks and problematised their most Western societies talk about as ‘nature.’ In modern naturalisation as ‘obvious’ representatives of nature, times, it has come to be understood as a world that is while proposing an approach to them as (re-) producers disentangled from the human one and is considered to of nature and the gaze of the visitor. However, both of represent everything that is not a product of humanity (Bird these studies focus less on installations and their 1987; Bird Rose 2015; Castree 2014; Hedrén 1994; Lövbrand constructions of nature, and more on built et al. 2015; Soper 1995; Wilson 2019). Within this environments in the parks and how their material understanding, nature is wild, authentic, and original. It infrastructures produce landscapes. This, together with exists beyond the borders of human societies, is where wild the fact that almost a decade has passed since the last of animals roam, and can only be properly understood via the above-mentioned studies were conducted, natural science premises (Castree 2014; Cronon 1995; emphasises the need for contemporary studies on Demeritt 2001; Grusin 2004). With its wide usage, the national parks’ installations and their construction of concept has become one of our time’s keywords and is used the non-human world. Besides, this small research field without any reflection upon its implications for how we contains an overrepresentation of North American relate ourselves to the non-human world (Descola 2013; studies, which need to be broadened. Jameson 1994; Williams 1976). The Swedish context, with its ongoing tourist displacement, The problem with such an uncritical approach is that it the massive attempts to use instructive installations as ignores nature’s social dimensions (Wilson 2019). As a means to create competition, and the emphasising of the a counter-reaction, scholars have questioned it by role of the visual underlines the relevance of focusing emphasising potential consequences. They have also research attention in that direction. In this article, I seek to proposed the importance of understanding nature as 2 trace, make visible, and problematise how knowledge of a socially constructed phenomenon created by human nature is put to work through the new installations in meaning-making practices and discourses. Within this Swedish parks, how power operates through them, how they argument, the use of the word ‘non-human world’ produce
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