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Isbn 91-87968-65-7 Detta Är Det Andra Numret AV Göteborgs Konstmuseums Skriftserie Skiascope This Is the Second Issue Of

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Isbn 91-87968-65-7 Detta Är Det Andra Numret AV Göteborgs Konstmuseums Skriftserie Skiascope This Is the Second Issue Of FÖRFATTARE /AUTHORS: GÖTE BORG S KONSTMUSEUMS SKRIFTSERIE DETTA ÄR DET ANDRA NUMRET AV GÖTEBORGS KONSTMUSEUMS SKRIFTSERIE Skiascope Folke Lind, Mutation II, 1970, olja på duk / oil on canvas, 38 × 46 cm, Namnet är hämtat från ett instrument som den inflytelserike museimannenB enjamin Ives Gilman utvecklade Göteborgs konstmuseum / Göteborg Museum of Art. i början av 1900-talet för att ge betraktaren möjlighet att fokusera på konsten i de, enligt upphovsmannen, Foto / photo: Lars Noord, © Folke Lind / BUS 2009. ofta alltför stora och tätt hängda museisalarna. Ett finns på Göteborgs konstmuseum, sannolikt inköpt av Axel Romdahl. Skiascopet blev aldrig någon succé. Det blev kanske obsolet genom att en glesare hängningsideologi vann mark under mellankrigstiden. Ändå kan nog många museibesökare känna igen sig i det som Gilman beskriver UPP MED RULLGARDINERNA! ISBN 91-87968-65-7 som ett av museiväsendets grundproblemen: den museitrötthet som infinner sig redan efter ett par salar.R e- KONSTEN I GÖTEBORG UNDER dan vid sekelskiftet stod det klart att museernas själva essens – att samla och ställa ut – hotade att göra dem alltför omfattande och omöjliga för besökarna att ta till sig. Sovring blir med tiden lika viktigt som samlande. 1960- OCH 1970-TALET Denna skriftseries ledstjärna är just fokusering. Liksom Gilmans instrument vill vi bidra till att rama in, lyfta fram och intensivt studera frågor som vi ser som betydelsefulla. Det kan vara enskilda verk, konstnärskap eller tidsperioder. THIS IS THE SECOND ISSUE OF Skiascope, KRISTOFFER ARVIDSSON Forskare vid Göteborgs konstmuseum / Researcher, Göteborg Museum of Art. GÖTEBORG MUSEUM OF ART PUBLICATION SERIES LENA BOËTHIUS 1:e intendent vid Göteborgs konstmuseum / Senior Curator, Göteborg Museum of Art. Skiascope takes its name from a contraption invented in the early twentieth century by the influential museum STEN GROMARK Biträdande professor, Arkitektur, Chalmers tekniska högskola / curator, Benjamin Ives Gilman. Concerned that art was hung too close together in over-large galleries, he Professor, Chalmers University of Technology, School of Architecture. designed the skiascope to help visitors focus on individual works of art. The Göteborg Museum of Art owns JESSICA SJÖHOLM SKRUBBE Universitetslektor, Konstvetenskapliga institutionen, Uppsala universitet / one, probably bought by Axel Romdahl. Senior lecturer, Dept. of Art History, Uppsala University. Ulla Hammarsten McFaul brer en smörgås i ateljén OPEN THE SHADES! Besökare på utställningen Livegen – EGET LIV / KAROLINA UGGLA Doktorand, Konstvetenskapliga institutionen, Stockholms universitet / The skiascope was never much of a success. Obsolescence was certain once the idea gained ground in the under planeringen av utställningen Livegen – EGET Visitors at the exhibition Serf – OWN LIFE, Doctoral student, Dept. of Art History, Stockholm University. ART IN GOTHENBURG DURING inter-war period that galleries should be more sparsely hung. Still, many today will recognize what Gilman saw LIV 1973 / Ulla Hammarsten McFaul buttering a slice Maneten 1973. JEFF WERNER Forskningsledare, Göteborgs konstmuseum / as a fundamental problem: the museum fatigue that sets in after only a couple of rooms. Even in his day it was of bread in the studio during the planning of the THE 1960s AND 1970s Foto / photo: Monica Englund. Director of Research, Göteborg Museum of Art. clear that the museums’ identity – their mission to collect and exhibit – threatened to make them too compre- exhibition Serf – OWN LIFE 1973. HÅKAN WETTRE 1:e intendent, Göteborgs konstmuseum / hensive, and overwhelming for visitors. In time, selection would become almost as important as collection. Foto / photo: Monica Englund. Senior Curator, Göteborg Museum of Art. Like Gilman’s device, the guiding principle of Skiascope is focus. We will bring select topics to public attention GÖTE BORG M USEUM OF ART PUBLICATION S ERIES and study each issue in depth, be it a single work of art, an artist’s oeuvre, or an entire period. E , P SCO A S KI A TION OF A Cambridge 1918, p. 238.p. 1918, Cambridge from Benjamin Ives Gilman’s Ives Benjamin from Museum Ideals of Purpose and Methods and Purpose of Ideals Museum DEMONSTR E P , SCO A ETT S KI av TION A Cambridge 1918, s. 238.s. 1918, Cambridge ur Benjamin Ives Gilmans Ives Benjamin ur Museum Ideals of Purpose and Methods and Purpose of Ideals Museum DEMONSTR Konstnären Bertil Norell på debatten om Siluetter av Leif Nylén, Bo Anders Persson och Nils konstbegreppet på Konsthallen, Göteborg Olof Bonnier inför deras tredygnsföreställning på 26 januari 1962 / The artist Bertil Norell Galleri Æ / Silhuetts of Leif Nylén, Bo Anders at the debate on the concept of art at the Persson and Nils Olof Bonnier on the eve of their Gothenburg Art Gallery 26 January 1962. three day show at Galleri Æ, februari/February 1968. Foto / photo: Kamerareportage. Foto / photo: Kamerareportage. ISBN 91-87968-65-7 Skiascope 2 UPP MED RULLGARDINERNA! KONSTEN I GÖTEBORG UNDER 1960- OCH 1970-TALET OPE N TH E S HADE S! ART IN GOTHENBURG DURING THE 1960s AND 1970s REDAKTÖRER / EDITORS Kristoffer Arvidsson & Jeff Werner SKIASCOPE 2 GÖTEBORGS KONSTMUSEUMS SKRIFTSERIE GÖTEBORG MUSEUM OF ART PUBLICATION SERIES GÖTEBORG 2009 GRAFISK FORM / GRAPHIC DESIGN: PASCAL PROšEK TRYCK / PRINT: PALMEBLADS GÖTEBORG 2009 FIG. 1. Tullan Fink, Parsek / Parsec, 1968, akryl och collage på duk / acrylic and collage on canvas, 74,5 × 97,5 cm, Göteborgs konstmuseum / Göteborg Museum of Art. Foto / photo: Lars Noord. ii FIG. 2. Carl-Erik Hammarén, Självporträtt / Self Portrait, 1979, olja på duk / oil on canvas, 73,5 × 60 cm, Göteborgs konstmuseum / Göteborg Museum of Art. Foto / photo: Lars Noord. iv FIG. 3. Jerd Mellander, Skogskvinna / Forest Woman, 1968 brons / bronze, 127 cm, Göteborgs konstmuseum / Göteborg Museum of Art. Foto / photo: Lars Noord. vi FIG. 4. Tord Lager, Målning / Painting, 1969, akryl på duk / acrylic on canvas, 47 × 39 cm, Göteborgs Stads kulturförvaltning / City of Göteborg Culture Administration. Foto / photo: Jan Dahlqvist, © Tord Lager / BUS 2009. viii FIG. 5. Kent Lindfors, Den rosa porten. Hamnskjul 178 / The Pink Doors. Harbour Warehouse 178, 1973–1974, olja på duk / oil on canvas, 117 × 87 cm, Göteborgs konstmuseum / Göteborg Museum of Art. Foto /photo: Lars Noord. x FIG. 6. Gunnar Thorén, CIA – Group, 1970-tal / 1970s, olja på duk / oil on canvas, 80 × 130 cm, Göteborgs konstmuseum / Göteborg Museum of Art. Foto / photo: Lars Noord, © Gunnar Thorén / BUS 2009. x ii FIG. 7. Åke Nilsson, Hundarnas år tar slut / The Days of the Dogs Come to an End, 1970–1971, olja på duk / oil on canvas, 119,5 × 130 cm, Göteborgs konstmuseum / Göteborg Museum of Art. Foto / photo: Lars Noord, © Åke Nilsson / BUS 2009. x iv FIG. 8. Bernt Jonasson, Industribild / From a Factory, 1973, olja på duk / oil on canvas, 100 × 106 cm, Göteborgs konstmuseum / Göteborg Museum of Art. Foto / photo: Lars Noord, © Bernt Jonasson / BUS 2009. x vi FIG. 9. Folke Lind, Landskap / Landscape, 1966, olja på duk / oil on canvas, 59,5 × 100 cm, Göteborgs konstmuseum / Göteborg Museum of Art. Foto / photo: Lars Noord, © Folke Lind / BUS 2009. x viii FIG. 10. 8 st / 8 Contributors, 1968, katalogomslag / catalogue cover, Konsthallen, Göteborg / Gothenburg Art Gallery. Design: Jan Bengtsson. xx FIG. 11. Olle Langert, Böljande form / Billowing Shape, 1970, Gårdsten, Angered, målad betong / painted concrete. Foto / photo: Jessica Sjöholm Skrubbe. xx ii FIG. 12. Utställningen Livegen – EGET LIV på Maneten 1973 / The exhibition Serf – OWN LIFE at Maneten 1973. Foto / photo: Monica Englund. xxiv FIG. 13. Sandra Ikse, Födelsen / The Birth, 1980–1981 gobeläng / tapestry, 304 × 146 cm, Göteborgs konstmuseum / Göteborg Museum of Art. Foto / photo: Lars Noord, © Sandra Ikse / BUS 2009. xxvi FIG. 14. Benedicte Bergmann vid sin installation Livmodern på utställningen Modersmyt, moderskap, mänskoskap, Konsthallen, Göteborg 1979 / Benedicte Bergmann at her installation Womb at the exhibition Myth of Motherhood, Motherhood, Humanity, Gothenburg Art Gallery 1979. Foto / photo: Monica Englund, © Benedicte Bergmann / BUS 2009. xx viii FIG. 15. Bertil Berg, Akvarell II / Watercolour II, 1973–1985, 51 × 73,2 cm, Göteborgs konstmuseums / Göteborg Museum of Art. Foto / photo: Lars Noord, © Bertil Berg / BUS 2009. xxx FIG. 16. Barbro Reyman, Human Dignity, 1967, olja på duk / oil on canvas, 115 × 72 cm, Göteborgs Stads kulturförvaltning / City of Göteborg Culture Administration. Foto / photo: Jan Dahlqvist, © Barbro Reyman / BUS 2009. xxxii Skiascope 2 UPP MED RULLGARDINERNA! KONSTEN I GÖTEBORG UNDER 1960- OCH 1970-TALET OPEN THE SHADES! ART IN GOTHENBURG DURING THE 1960s AND 1970s INNEHÅLL • BIRGITTA FLENSBURG TABLE OF CONTENTS 4 . FÖRORD KRISTOFFER ARVIDSSON * 6 . INLEDNING BIRGITTA FLENSBURG 5 . PREFACE KRISTOFFER ARVIDSSON * * 14 . MELLAN GRYNING OCH SKYMNING KRISTOFFER ARVIDSSON 7 . INTRODUCTION JEFF WERNER * * * 82 . DET GÖTEBORGSKA MÅLARKÄRRET KRISTOFFER ARVIDSON 15 . BETWEEN DAWN AND DUSK STEN GROMARK * * * * 132 . TRE DAGAR SOM INTE SKAKADE GÖTEBORG JEFF WERNER 83 . PATHS THROUGH A GOTHENBURG QUAGMIRE KAROLINA UGGLA * * * * * 162 . BJÖRNLIGANS TIDSMODUL STEN GROMARK 133 . THREE DAYS THAT DIDN’T SHAKE GOTHENBURG JESSICA SJÖHOLM SKRUBBE * * * * * * 200 . EN ANNAN BERÄTTELSE OM OFFENTLIG SKULPTUR KAROLINA UGGLA 163 . THE BJÖRNLIGAN TIME MODULE LENA BOËTHIUS * * * * * * * 250 . KVINNOKAMP, KLASSKAMP OCH KOLLEKTIVISM JESSICA SJÖHOLM SKRUBBE 201 . PUBLIC SCULPTURE: ANOTHER STORY KRISTOFFER ARVIDSSON * * * * * * * * 290 . FRÅN
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