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Beauty and Struggle Christina Zetterlund 57 56 BULLETIN MUZEA ROMSKÉ KULTURY 28/2019 RECENZOVANÁ ČÁST Beauty and struggle Christina Zetterlund 57 Beauty and Struggle Christina Zetterlund 1 is a senior lecturer at An article about the jewellery artist Rosa Taikon (1926–2017) the Department of Design, Faculty of Arts and Huma- nities, Linnėuniversitetet, Sweden E-mail: christina.zetterlund@ lnu.se ABSTRACT: The focus of this article is the Swedish Romani jewellery artist Rosa Taikon and her practice during the first part of her career. It opens with a description of her education and the devel- opment of her unique expression, combining late modernist art jewellery and Romani craft 1 The research for this article was made traditions. Two exhibitions are analysed. The first is the exhibition „Zigensk smycketradition possible by the Hälsinglands Museums – Rosa Taikon“ at the Nationalmuseum in 1969, which was her great debut exhibition during project of the, Rosa Taikon Archive, htt- the counter-culture heyday. This exhibition was as much about Roma history and traditions as ps://halsinglandsmuseum.se/projekt/ rosa-taikons-verkstad/. The author has about Taikon’s own work. The second example is the exhibition„Rosa Taikon. Bernd Janusch. been active as researcher within this pro- Smyckekonst. Corpus Silver“ at the Röhsska musset [Museum of Design and Craft] in Gothen- ject. burg in 1983, which was presented as post-modernist discourse was coming to the forefront, and therefore made less visible political statements than the one in 1969. By analysing this change, I do not just want to portray a brilliant, creative artist, but also to discuss the con- ditions in which Taikon worked and the difficulty of an artist from a minority being regarded on the same terms as her peers. The article ends by pointing to the important work regarding Taikon’s legacy that is being done in Sweden today. Key words: jewellery art, craft, Romani traditions, Sweden ABSTRAKT: Tento článek pojednává o švédské romské šperkařce Rose Taikon a její tvorbě v průběhu prv- ní části její kariéry. Začíná popisem jejího vzdělání a vývoje jejího osobitého výrazu, v němž se spojují pozdně modernistické umělecké šperky s romskou řemeslnou tradicí. Předmětem analýzy v článku jsou dvě výstavy. První je výstava „Zigensk smycketradition – Rosa Taikon“ v Národním muzeu ve Stockholmu ve Švédsku v roce 1969, kterou debutovala v době rozkvětu alternativní kultury. Tato výstava byla věnována jak romské historii a tradicím, tak i vlastní tvorbě Rosy Taikon. Druhým příkladem je výstava „Rosa Taikon. Bernd Janusch. Smyckekonst. Corpus Silver“ z roku 1983 v Röhsska musset v Göteborgu, prezentovaná jako v té době aktu- ální postmoderní diskurs. Tato výstava proto obsahovala méně viditelná politická prohlášení než výstava z roku 1969. Analýzou této změny nechci jen přinést svědectví o brilantní, krea- tivní umělkyni, ale také diskutovat podmínky, v nichž Rosa Taikon pracovala, a o obtížích, kterým čelí umělkyně pocházející z menšiny, jež je posuzována stejným metrem jako její vrs- tevníci. Článek končí poukazem na důležitou práci týkající se odkazu Rosy Taikon, která dnes ▲ Exhibition poster, “Roma ve Švédsku probíhá. Jewellery Tradition – Rosa Taikon”, 1969. Photo: Natio- Klíčová slova: šperkařské umění, řemeslo, romské tradice, Švédsko nalmuseum, Stockholm 58 BULLETIN MUZEA ROMSKÉ KULTURY 28/2019 RECENZOVANÁ ČÁST Beauty and struggle Christina Zetterlund 59 At the Swedish Nationalmuseum of tionalmuseum gives evidence of Rosa Art and Design there is a permanent ex- Taikon’s importance in Swedish art hibition called The Treasury exhibiting history. However, she is just represent- ‘objects of vertu’- a room full of objects ed there by Bara Ihlo. Compared with of adornment, jewellery, and smaller her peers, such as the jewellery artist pieces created from precious materials. Torunn Bülow-Hübe, whose works the One vitrine, called “Jewellery for Mod- museum placed in the centre of the ern Life”, presents art jewellery made above-mentioned vitrine, this is a weak during the decades after the Second representation. The Nationalmuseum World War. During this period, artists owns 36 pieces that Torunn Bülow-Hü- changed the understanding of jewellery be produced over a period of forty ye- design from that of producing precious, ars. That means the museum followed decorative objects to that of subjective Bülow-Hübe’s artistic development, experimentation with forms and mate- whereas Rosa Taikon’s successful rials. This late modernist jewellery was career, which spanned more than fifty exhibited in 1959 by the Nationalmuse- years, is represented by just one piece. um in the exhibition Nutidssmycken To challenge this unbalanced repre- [Contemporary Jewellery] (Hernmarck sentation, I want to show the develop- 1959). The vitrine showcases works by ment of Taikon’s practice by discussing several of the artists represented in the two events in the first part of her cari- 1959 exhibition along-side others who er. The first is the exhibition “Roma were active in the decades after the Sec- Tradition – Rosa Taikon” at the Natio- ond World War. nalmuseum in 1969, during which the In the lower left corner of this vitri- museum bought the Bara Ihlo neckla- ne, the visitor can see the magnificent ce. The second example is the exhibiti- necklace Bara Ihlo [“Big Heart”] made on “Rosa Taikon, Bernd Janusch, Jew- by Rosa Taikon in 1968. It is an expres- ellery, Hollowware, Silver” at the Röhsska sive silver necklace, large and beauti- musset [Museum of Design and Craft] fully crafted with intricate decoration. Gothenburg in 1983. By analysing the The necklace combines late modernist changes in her work occurring during expressive jewellery with Romani craft and between these two events, I do not tradition into something unique that is just want to portray a creative and bril- not to be found in the work of any other liant artist, but also to discuss the artist represented in the vitrine. circumstances in which Rosa Taikon By analysing the development of Rosa worked. Taikon’s early career, I will show how she formulated her own jewellery lan- Early life ▲ Silver necklace Bara Ihlo designed guage, one that contributed to the deve- and crafted by Rosa Taikon, 1969. lopment of Romani jewellery traditions Rosa Taikon’s father, Johan Tai- From the collections of the Nationalmuseum, as well as to how her art jewellery was kon, came to Hapranda in the north Stockholm, NMK 85/1969. Photo: Hans Thorwid – Nationalmuseum, made and understood. of Sweden on the Finnish border with Stockholm This single piece exhibited at the Na- his father, Kori Taikon (Caldars 2002: 60 BULLETIN MUZEA ROMSKÉ KULTURY 28/2019 RECENZOVANÁ ČÁST Beauty and struggle Christina Zetterlund 61 2 The Rosa Taikon Collection at the Häl- 16) and his brothers. The family were art school. In fact, any form of formal singland Museum. Kalderash Roma who came to Sweden education was difficult for Roma to -ac from Russia through Finland. In 1926, cess, as her family could not stay in Rosa Taikon was born in a camp out- one place for a longer period of time. side the small village of Tibro in the This, alongside institutional racism, southern region of Sweden. Her mother made it difficult for them to access was Agda Karlsson, a farmer’s daugh- education (Rodell Olgaç, 2013: 199). ter from Härryda who had met Johan Rosa Taikon was 35 years old when she Taikon at a restaurant in Gothenburg was accepted to the metalworking de- where she worked as a waitress. Jo- partment at Konstfack, where the well- han Taikon would support his family -known silversmith Sven Arne Gillgren by running a travelling amusement was the head teacher. She studied at park, as well as taking on tin-pla- Konstfack until 1967. ting commissions. During Rosa Tai- In the Rosa Taikon Archive at Hälsing- kon’s upbringing, the family moved lands Museum in the north of Sweden frequently, living in tents, caravans one is able to go through her sket- or hotels. Her mother died when Rosa ches following her work at Konstfack. Taikon was only seven years old, which There are classic sketches of hollow- resulted in her having to take a lot of ware alongside jewellery.2 There are also responsibility within the family. Ear- design ideas for objects with clean sur- ly in life she learned how to play the faces and sharp lines, a form of de- drums and would tour around Sweden sign that one would find among most together with members of her family student works at this time. From these (Taikon 1963: 23, 56). She would also preserved sketches one can follow her perform outside her family, appearing work going in a different direction and in the filmSmeder på Luffen (“Smiths how she makes sketches of her fami- on the Road”) in 1949, and she partic- ly’s jewellery and integrates aspects of ipated in and won the beauty pageant them into her own work. Through the called Tusensköna [“The Daisy”]. Du- sketches, it is possible to follow her ring the 1950s she would appear in se- developing her own unique language, veral more films and become friends in which she would combine late mod- with many artists in Stockholm. ernist expressive jewellery with Ro- mani traditions. Her powerful jewell- At Konstfack ery at this time had bold shapes and precise details. She decorated the sur- In 1961 Rosa Taikon was accepted to faces with granules and filigree into the Konstfack University College of intricate compositions that empha- Arts, Crafts and Design in Stockholm, sised the form. There are decorative ▲ Silver earrings designed and crafted one of the most prestigious art schools details present with a direct reference by Rosa Taikon. in Sweden. Although she comes from to the traditions of her family. Photo: Carl Öst Wilkens – Hälsinglands a family of smiths, she was the first Museum to receive a formal education at an 62 BULLETIN MUZEA ROMSKÉ KULTURY 28/2019 RECENZOVANÁ ČÁST Beauty and struggle Christina Zetterlund 63 Preserve a tradition morrow] conducted between 2017 and 2019 3 Se also: https://halsinglandsmuseum.
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