176 :G:=HEN¦GĀO>KLĀM>LĀ *Merdivenköy mah. Uyanış 12/8Kadıköy sok. Istanbul, [email protected], ORCIDID:0000-0002-1408-8168 Received Date: 24.06.2020Accepted Date: 22.02.2021Arcticle Types: Research Article Keywords: orasmemorabilia. object of copies andits meritsasanart defence ofagoodcopy” investigates why theBauercopies were sopopular, researching thedifferent aspects today.and canstillbefound inauctions They were yet theyexceeded notartworks, making. theideaofcraft “In Bauer (A free interpretation ofJohnBauer). The wooden copies were sopopulartheybecamecollectors’ items theBauerworksdesigned onwood andcarved andsigned themwiththeirfamousinscription: “Fritt John efter were aware theywere wooden replicas making ofhiswork butaddingtheirown subtleinterpretations. They The Bauerpaintingsandmotifs were wellinSweden known popularandvery andÅke Tor Carlsson wooden copies becameasensationintherural town Tranås. witches. AlthoughBauerwasaprominent keenonkeepingthe figurecopyrights the ofhis whowas work, very scenes fromwho depicted stories. folkloric These stories were aboutdenseforests, lakes, trolls, princes and wooden relief Swedish copies well ofJohnBauerpaintings. known JohnBauerwasavery painter andillustrator Abstract: Seher UYSAL* ANDAUTHENTICITY ON CRAFTMAKING OFAGOODCOPY:IN DEFENCE ADISCUSSION Between theyears makersandbrothers 1941and1982two crafts Tor andÅkeCarlsson made Craft, Art, Copy, Craft, Art, Replica, Interpretation Anahtar Kelimeler: Anahtar *Merdivenköy mah. Uyanış 12/8Kadıköy sok. Istanbul, [email protected], ORCIDID:0000-0002-1408-8168 Seher UYSAL* 1 14ç,ç0#..ç-d<'4ç0'$ç46#46+ë/# ç;ç-12;#0+05#870/#5+<#0##6.'48'ç Geliş Tarihi: 24.06.2020Kabul Tarihi: 22.02.2021Makale Türü: Araştırma Makalesi resimleyen bir illüstratör ve ressam olarak tanınır ahşap rölyef kopyalarını yapmaya başladılar. John Bauer İsveç’te oldukça bilinen ve halkhikayelerini Özet: incelenmesini ve bir sanat nesnesiyadaandaç olar bu metinBauer kopyalarının nedenbu denli popü sınırlarını başkabir yere bir kopya dahabulabilmenin peşindedir. Sanat obje bir uyarlama).” Ahşap kopyalar öyle popüler olur kimüzayedelerde satılır ve bugün çok hala pek insan kopyalarının arkasına meşhur imzalarını şöyle atarlar: “Fritt efter BauerJohn(John Bauer’den serbest ancak kendi yinedeişlerine yorumlarını duramazlar. eklemeden Tasarımlarını yapıp oydukları Bauer İnsanlar Bauer resimlerini iyi tanırlar, Åke ve Tor büyükşehrinde bir olay halinegelir. de, çalışmalarının ahşap kopyaları Bauer’in doğduğu Jönköping bölgesi sınırları içindekalan Tranås ve resimlerinin telif korumak haklarını içinelindengeldiğ göller, troller, prensler ve cadılar gibi olağan ; 4 - ,ç0#.

1941 ve 1982yılları arasında ikizanaatkar kardeş Tor ve Åke Carlsson, John Bauer resimlerinin UY SA # . 0 -

Zanaat, Sanat, Kopya, Replika, Yorum  d çekmiştirler. “In Copy (İyi Defence of a Good kopyanın savunması)” adlı  <' # dışı bazıkarakterlere yer verilir. Bauer bugün tanınan . Resimlediğihikayelerin çoğun Carlsson dakopya işlerürettiklerinin bilincindedirler ak niteliklerini sorgulamayı amaçlamaktadır. ler olduğunu, kopya farklıaçılardan meselesinin leri değildirlerancakleri zanaatkarlık aşmış, fikrini ince çabalayan bir ressam olarak bilinse da karanlık ormanlar,

177 L:G:MO>M:L:KBF=>K@ĀLĀ 178 :G:=HEN¦GĀO>KLĀM>LĀ This makestheir efforts not entirely legal but concerned about issueof the copyrights. producedwho objects the were not really It to point crucial isalso out craft these makers ofsake making and them nothing else. objects with joy the of creating things, just for the intuitivelyterminologies, instead they made are mentioned here were not interested insuch or “referencing.” craft the makers Because who it isnot about “appropriation art” or “homage” contemporary and artist researcher. However and fakes and stems from my interests asa This paper isadiscussion about copies, replicas objects and/or disciplines. artworks, to discuss way terminology the we use like “authenticity”, “authorship”, “replica” and the blur area the two between fieldsas well as terms morewhen potential specifically the it has to what may or art deemedasbeing be craft. Or expectations and threshold the passes between examplegood of craftbeyond makingthe goes is about avague area two, between the a when paper solely about or art crafts. Its main focus and inspired by Sennett’s neither isthis book, on craft making, although it iswidely encouraged about Richard Sennett’s thoughts and comments 2009: 175).However paper this isnot merely workthe and at think same the time(Sennett, with repetition allows the crafts maker to create thinking and explains how busy the hand intime Craftsman the book contradicts mannerthis of finishes. RichardSennett, inhis well known separate, reasoning can only labor when start There is practice thereand theory, is which are there isnointellectual effort this during process. connected, hand the works mechanically and maintained that hand the and are head the not repetition. During daily labor, it isoften skillintimethrough maker the the perfects it when ideas comes to craft makingthat is Making isthinking. Oneof preconceived the 1. INTRODUCTION accompaniment of music.sculptors’ The wood artistic debates place, taking often withthe therebusiness were of many woodcarving also At PJCarlsson’s Bildhuggeri apart form the Tranås. reachedwho national recognition and lived in from Hermann Norrman, arenowned painter PJ himself took lessons of decoration and design interested inallkindsof creative production since workshopthe ahub became for are people who masterpeople. crafts Interestingly overthe years and enriched it with contribution the of other Tor took over family the brand and expanded (Skobe, 2008:14).After PJ,sons his Åke and of for wood furniture the factories inTranås workshop supplied which handmade decorations carpentry 1908 PJCarlsson opened aspecialist PJ Carlsson’s back goes asfar as1900s.In history was actively using it anymore. existed intact and untouched, noone though even more compelling was that the workshop still town’sthe (Skobe, history 2008:13).What was mid 1900sand left which indeliblean mark on sculptor’s workshop inearly to wasinuse which of smallwood the history summarized the En Verkstad (Not Just aWorkshop). book The artist Torbjörn Skobe with title the Inte Bara and published historian by local amodest and Grehn brought to my attention written abook In librarian local 2018,the inTranås, Magnus 6*'911&5%7.26145¥914-5*12  copies of copies. interpreted Bauer copies and copies, their also Sweden, John artist the Bauer and freely the things: an sculptors’ old wood workshop inrural paper isabout we should firsttalk about three were indemand. high But what to clarify this workshop wood their financially theand products making copies, it brought money and supported particularly interesting. they were knew They  2,%#4.5510¥5$+.&*7))'4+   the place.the community eventhough it isquite to easy visit remainsalso surprisingly unknown to local the and silence that the now surround It them. frozen intimewith outdated working tools workshop with its colors sepia appears almost building’s previous owner Gärskog. Lars The municipality together with wishesof the the condition thanks to protection the of Tranås the workshop is still preserved inits present After almost forty years since its closurethe ‘originals’ were asthey often referred to. except for people were the who once present, the things have remained mostly were asthey before, as akindof timecapsule, aheritage site where place.made the The space today manifests itself artisans, thinkers and musicians.people The discipline or but task were they carpenters, artists, workshop were not limited solely by one form of opportunitiesthe were limited.people The the at ofa sense unity situated inasmalltown where not aplace for individualism but rather it had for artists and enthusiasts. The workshop was somewhere and arts between crafts, andart labor presented another kindof creative space, worka spaceto think, studio the and discuss, The place provided ashelter for creativepeople, somewhere professional between and amateur. for along time, it wasalways at threshold; the studio created an intellectual circle for town the Image 1:PJ Carlsson’s workshop in2020. of John Bauer)” (http-2). It brought together or Fritt efter BauerJohn (A Free interpretation about Bauer the trolls and wastitled “Copies did not endthere. Oneof sixexhibitions the was completed after two years,the questions it raised six occasions in2019.Although work the was workshopthe following differentthemes on of research the were exhibited and installed at a site relevant to The culturaloutcomes history? into amausoleum? Which issuesand topics make cultural heritage? we Do needto turn everything space and its maintenance. How dowe with deal project wasto question issueof the heritage and a research artwork. based Themain the of focus (http-1) functions which asan both archive and orBildhuggarverkstad AStory In Six Chapters material at awebsite with project the name; After a year of research Icompiled my research heritage.local have explored place the artistically asasite of produced at workshop the and more importantly of replicas the and decorative objects that were and hearsay about place, the examined some worked at gathered Bildhuggarverkstad, legends information on some of many the who artists connected to PJCarlsson’s Bildhuggeri. Icollected some of lastremaining the interviewed people Verkstad, to research lstarted workshop the and Upon reading Torbjörn Skobe’s Inte book Baraen

179 L:G:MO>M:L:KBF=>K@ĀLĀ 180 :G:=HEN¦GĀO>KLĀM>LĀ (Swedish Folk Stories, 2017,p.237). He was asked trolls and witches inhisuncanny landscapes heplacedin which otherworldly creatures like Gnomes and Trolls) an anthology tales of fairy illustrations of Bland tomtar troll och (Among skies, harsh winters. He known ismostly for his forests,Dense rivers, lakes, dark starry woods, where and hewasborn grew up: Småland. Swedishthe geography, especially region the Bauer painted landscapes that typically illustrate today but isnot open to public. house inGränna, Sweden. The house is still kept traveling inEurope awhile intheir settled they where hemethispainter wife after Ester Ellqvist, Royalin the Academy of inStockholm Arts his works are innational collections. He studied folklore. He isnationally well known and some of ofscenes Swedish the forests, landscapes and productive and life fruitful mythical accident inlake Vättern in1918,Bauer hada Before hispremature tragic and fatal drowning churches and buildings. known to paint oils and inanumber of relationship with magic innature. He isalso of Swedes tales the shaped fairy the and their and wildanimals, many of have which helped forests,tales, gnomes, prin and prints and depict folkloric they fairy scenes, in Jönköping. Most of hisworks are watercolors notebooks are exhibited regional inthe museum much revered and some of hisworks, sketches, in Jönköping in1882.Today heisstillvery John Bauer isawell known Swedish born artist, STORIES  as afigure in Swedishculture. briefly introduce BauerJohn and his prominence notions of authenticity and copies, Ineedto debatable. Before opening up on adiscussion authenticitythe works of wooden these were reliefs from PJCarlsson’s Bildhuggeri and samples of anumber of Bauer wooden ,1*0$#7'4#0&59'&+5*(1.- cesses, trolls,cesses, witches carved forcarved nextday. the paper copying John Bauer’s illustrations to be vaguely remembers herfather with atracing and around 30x30centimeters insize. Bolehed The objects are usuallysquare wooden, shaped were madefor being more than forty years. there are versions from 1982,indicating that they Icamedesign which across isfrom 1941and there are not that many. Thefirst exampleof Åke’s examples of Åke doing designeven though the Åke Carlsson doing but carving the there are Mostly it wasTor Carlssondesigning and them businessthe waswavering at workshop. the Bauer” were popular and very were madewhen BauerThe copies or interpretations“free of valuable.so formulate why copied those objects hadbecome online auctions. The to following willtry section and difficultto find, sometimes showing up on copies were well sought after, relatively expensive to have one of copies. the Iwasaware that the it asagift to meknowing I would have liked copiesthe bought who of to afriend Leap Elk the in Six Chapters exhibitions. She later one sold of installation of Bildhuggarverkstad and AStory a collection of eight Bauer copies for third the stores around region. the kindly lent Bolehed me as well asmaterial collected from hand second worksart, sheinherited from herown father Carlsson. She hasquite alarge collection of local business along with Åke, from father their PJ youngerthe brother took who over family the daughter isthe 16, 2018)who of Tor Carlsson, personal communication,Bolehed, December (C. In Catherine Bolehed 2018Iinterviewed $#7'4  keep hiscopyrights. many versions and tales waskeen to of fairy the prominent Swedish authors’ stories. He illustrated and hisworks were to accompany to anumber of to illustrate Among Gnomes and Trolls in1907  #(4''+06'424'6#6+101(,1*0 Catherine Collection, Motala Bolehed Image 2:the Troll Ride, Tor Carlsson, wooden relief, 30x30cm, to with hismother but received shewaspregnant.when Peter Lundberg moved stayed for married and awhile were separated bankruptcy. Lundberg’s mother and father only his son took over business the but brought it to grandfather business afur inTranås started and Peter Lundberg lives who inGothenburg. His for children. their belongs Onesuch story to People were known also to keep asobjects them 2019). (A. Hultman, personal communication, April 21, or ten year anniversary gifts their employeesto many of Bauer copies these and gave asfive them owner. owners alot She believes of bought factory plaque on, stating that itfrom wasagift afactory of hasasilver herown Bauer wooden carvings copies hanging on homes. wallsintheir One states that alot of people inTranås have Bauer there musicians with local after it was closed hadaccess toworkshopwho the and rehearsed June musician 12,2018).Alocal AnnaHultman reasons” (L.Gärskog, personal communication, in making copies the other than financial Åke and Tor hadnocreative says “They interest workshopthe for along and while befriended Lars Gärskog owned who building the containing making these woodcarvings and were they making woodcarvings these much motivation wasthat of they course, enjoyed meant it hadeconomic reasons.second The copies business the when wasdiminishing which these things: Thefirststartedthatto is carve they making Bauer wooden copies, we know two Regarding why brothers Carlsson the started remains amystery. from folkloric to religious tales iconography collections inTranås. The why reason movedthey folk found stories can be also they inprivate birds it though even not does refer to Swedish 2008:136). There are copies also of St Francis and Trollthe family or Motherly the Love (Skobe, Trolls or Adventure the and some were titled as Trollthe Ride, Changeling, the Boy The theand and Elk Littlethe Princess Cottongrass (two), eleven and are illustrations for Leap tales the as well. Themost well known versions are around dimensional sculptural examples of Bauer copies in Torbjörn Skobe’s there book are three There are many versions the copies of and 2, 2019).” me (P. Lundberg, personal communication, May madeit, people who the isnolonger to amystery my Bauer comes wooden from. The origins and only now, 76years later, that Ifinally knowwhere Iknow So hisillustrations books. those but it is illustrations. Everyone inmy generation read and Iremember with reading his books those strangewas very to have aJohn Bauer carving picture the behind and where it came from. It IhaveSo always intrigued been by story the thatI knew my mother wasliving inTranås. in1942andin 1941.Iwasborn of course in1941 always picture hadthis and it Iknew wasmade medialooking for replicas.social wooden the “I came from until Iplaced an advertisement on than seventy years and didnot know where it by for Bauer hisbedside carving wooden more coat, aBauer copy. He told methat hehada presents from hisfather from timeto time. Afur

181 L:G:MO>M:L:KBF=>K@ĀLĀ 182 :G:=HEN¦GĀO>KLĀM>LĀ communication, August 25,2018). making objects (P. these Tidman, personal Carlsson’s nephew) agrees that Carlssons enjoyed at workshop the (and wasTor who and Åke free interpretations. Per Tidman, worked who never identical to Bauer’s drawings. They were Bauer however versions wooden their were more than mere copies. were They inspired by living depths inthe of forest the and guiding “ready world” the to see with help the of an elk bya tale Helge Kjellin about ayoung princess and Elk Leap Little the Princess Cottongrass is originalthe Bauer and its copies. distinguish different the betweencharacteristics asatemplate,Elk it Iwilluse asan example to how in Sweden other Leap woodcarvers the used understand how brothers Carlsson operate and most well known of Swedish the folk stories. To in Six Chapters installations. It one isalso of the ofwas part or Bildhuggarverkstad the AStory produced at workshop the business and to boost isoneLeap Elk the of woodcarvings those KEEPSAKE 24+0%'55%16610)4#55   .'#26*''.-#0&.+66.' Image 3:Page from thebookSwedish Folk Stories, showing JohnBauer’s illustration ofLeap theElk.  # carved on wood by on wood Carlsson brothers.carved illustrations by Bauer whichwaslater copied and Stories, hastwo infact 2017,44).Thisstory night at background the a starry (Swedish Folk amongst mossand lichens. Above we them see ayoungwe see princess sleeping on grass, the dominates picture the and elk’s underthe feet isquite story the plain, sizeof the animal the original Bauer illustration that accompanies littlethe princess through many the The evils. Istanbul Image 4: Tor Carlsson, “Leap theElk”, wooden relief, 30x30cm, carved intocarved the wood. Interpretation of John Bauer -Tor Carlsson) “Fritt efter Bauer”-John TorCarlsson” (A Free Tor Carlsson with trademark their inscription backOn the of relief the there signature isthe of forest denser the copy. and wooden mossinthe whereas thereElk isan uncanny feeling due to girl discovering world the inBauer’s Leap the is calmness,serenity and of amystery ayoung darker than authentic the Bauer image. There Tor Carlsson’s version isfar more crowded and there are far many too stars. It’s to state easy that are dominant so cover they skyscape. Also the typical Småland forest with spruce trees, the trees flowersthe background in and theone cansee brothers’ Carlsson in the copy and there are no The moss the on forest floor is far more dense to mirror image the making when template. the probably way the it was copied had they because differsfrom Bauerthe version. Thereason is is looking at and position the of princess the illustration. First of all, direction the elk the isslightlypossession differentthanthe original Bauer The whichwooden relief Ihave in my cm, Istanbul. Image 5: Tor Carlsson, “Leap theElk” (backside),wooden relief, 30x30 revisit and fondly remember. often them reminded about likethey apast to with owners the interviews wasthat carvings the his own copy. Theimpression I got the during signed specifically for her and had Lundberg June hasafew Bolehed 12,2018).Catherine himself (L.Gärskog, personal communication, copies, one for each of hischildren and one for GärskogLars stated also that hebought four communication, May 2,2019). way” Lundberg explains (P. Lundberg, personal a deeper, more meaningful and amore inclusive do about it but pastcan the change timein allthe that future the iscoming and there isnot much to and understand it. it, Ifeel Sometimes experience Past isaliving thing, you can go back to your past understanding properly things that the happened. to meisathing you can go back into and start I’mbecause enjoying pastmore the and past the really enjoying of idea the being an old person, to “Now nostalgia. that I’m getting older I’m to our understanding of pastand attachment people than original the Bauer isrelated why copies these more became important to some emotional value to it. Oneof reasons the different sides the countryof but he attached to know hisfather properly, were they living in he wasababy, hedidnot have chance the to get itfrom wasagift hisfather, given when to him he grew up folkloric with those stories. Second, Bauer illustration Bauer heknew because and One wasthat it wasacopied version of aJohn copy came from wasaware of only two things: Peter Lundberg where hisBauer knew never who we emotional attributethis aspect to objects. way copies the changed hands, brings forward and shewasaware fond of Iwasvery The them. BolehedcollectionCatherine agift to wasalso popular smalltown. inthis inmy Leap Elk the Bauer copies and why have they so become giving isan important discussing when aspect As mentioned before my copy wasagift and gift

183 L:G:MO>M:L:KBF=>K@ĀLĀ 184 :G:=HEN¦GĀO>KLĀM>LĀ diminished by shutting your ago, Acentury eyes. trauma, whereas apainful sight can instantly be a hot stove, your into goes whole body sudden images that are contained ina frame. If you touch “unbounded” data, whereas eye supplies the eye. It that has seemed touch delivers invasive a different kind sensateof informationthan the debate about touch brain the whether furnishes in philosophy, along there hasbeen standing intelligent hand. of In medicine, history as the “Touch different poses issues aboutthe explains significance the of touch: of mind. the In TheCraftsman Sennett hisbook complicated movements with cooperation the how hands are able to doanumber of varied handthe gripped, and sensed produced tools, the homo sapiens evolve through centuries; the how not subject; scientists anew have researched how trees,the elk. Theintelligence the the handof is with help the of bumps and feel landscape, the alphabet, one can easily read relief wooden the read withbe help the of touch, like Braille the landscapes. They are objects. They can tactile to touch and feel pictures the and imaginary reliefswooden are not just mere copies, it iseasy Another reason would about be touch: the the hung on walls. sculptor’swood workshop, easily purchased to be museumwas inthe whereas copies were inthe shape of clouds the and stars.Bauer The original stories,the addedobjects and plants, adapted the intuitively madechanges, darkened or softened but never really they created copies. exact They works with folkloric images infinancial value brothers created cheaper versions of John Bauer brought on byCarlsson digital the era.The as today and long before circulation of images prints were not common, so inquality high copieswooden at especially color atimewhen were harder to reach than and the experience Bauer paintings are inmuseum collections and Another important point isabout access to art. misreading them.” 2009:33) (Boym, silence, for helooks memorable signs desperately is looking for aspiritual addressee. Encountering and space before into entry history. Thenostalgic physical and spiritual, edenicunity the of time fornostalgia an absolute, ahome that isboth expression asecular be of aspiritual longing, a world with clear borders and values; it could of mythical return, for lossof the an enchanted as“anostalgia mourning for impossibility the modern this since Svetlana describes Boym might considered be asanother form of nostalgia (or own) reliefs wooden from workshop. the This itpreserve aspart of heritage local their and buy history,local people certainly would want to Since PJCarlsson’s workshop of waspart their of townhistory the or drone even photography. sculptures around which can seen be town, the stories of famous people, or local outdoor the thousand be canbooks about people. the These onlywhich hasapopulation of lessthan eighteen Tranås haspublished many about books town the collecting histories. local The municipality in virtuous asbeing regardingseen archives and attribute reliefs. wooden to Sweden these isoften plays an important partvalue inthe people The importance cultural also local of history interpretation, finger the tips theto react object. worksthe suddenly feels within reach, open to one to closer actively exploring painting, the Touching an object like Bauer the reliefs, brings window to mind” (As cited 2009). inSennett, Kantwith head. the handthe stated is “The system, hand the andeye creates nerve aunity andwrists forearms to cooperation the of the fingertips,the unity movementsof with fingers, From gripping and touching an object with your proactive aswell asreactive.” 2009:152) (Sennett, of guiding fingertip; the touch appeared to him ‘active touch,’ names which conscious the intent He discussion. this explored what hecalledthe biologistthe Charles Sherrington reformatted Developer NiclasDeveloper Flinck (N.Flinck, personal even inSwedish, according to Regional the Crafts and menisnot muchwoodcarving written upon, time. This area inhistory, the of history especially other craftsmen were making it aroundsamethe copies wooden of of carving Bauer some because during time. the Maybe Åke and Tor got idea the interest of handcrafts hobbyistsby in Sweden connectedalso to growing the and widespread were aphenomenon allover Sweden. Probably to business keep the open at PJCarlsson’s, they were atrend, also rather than something just Nyberg’s indicated carvings, that carvings the but rectangular too. Theencounter with Peter brothers’ copies. Thesizes weren’t alwayssquare looked much rougher ones than the by Carlsson color wasquite scheme different theand carving Little Princess Cottongrass by lake. the The depicting Saint Francis and other the one is his grandfather’s version of Bauer copies, one Later on Nyberg sent metwo photographs of of nomatch to themselves. (Skobe, 2008:137) Bauer copies but thought they skillswere their Tor and Åke were aware of other people making Infact, Torbjörn mentions Skobe inhisbook and hewasquite of coincidence. the surprised of Bauer same sort almost the copies wooden with him,hementioned hisgrandfather made third installation Copies or Fritt efter BauerJohn were going through documentation the of the was aware of project the and website. the As we translator, writer and literary developer. Nyberg or AStory inSix Chapters, ImetPeter Nyberg, a Upon finishingthe project Bildhuggarverkstad ENCOUNTER MYSTERIOUS6. ANOTHER Carlsson’s popular. so workshop became all played apart inwhy Bauer the copies from PJ coming from aworkshop people know and visit locality, creating an object within reach, an object making it accessible to an audience inaspecific Thusthetaking artwork out the of museum and Flinck states also craft making is still alarge part personal communication, 2020).” December of work to get free time for hobby (N.Flinck, other factor unions isthe and regulation the makes it amatter for state. the Oneimportant andwood) National the HandcraftCouncilwhich why there little isso written about menand by women and textile, perhaps main the reason were both (which drivenSociety and dominated of Handcraft and later The Swedish Handcraft preindustrial society. Friends the Especially weresociety afraid we would values lose of the all citizens. But popular the movements incivil values inplace inorganized form for almost educationin the system inSweden, which puts in education, driven by Otto Salomon put Slöyd internationally“The known Swedish Slöyd model system inSweden: Slöydthe contributed model to educational the course” explains Niclas Flinck and elaborates how of word the hasnarrowed, shaped by history’s ‘manual skill’ (http-3). “Later on meaning the meansslög which ‘handy’ Slöjd means ‘craft’ or Scandinavian word, stemming from adjective the Salomon introduced word the Slöjd; an old and key figure incraft making; Otto Salomon. with the contribution of awell known educator important element inSwedish educational system Internationally known craft makingbecame an formation of guilds” 1989:157). (Arvidsson, “craft makersbecame townsmen this led and to developmentthe of urban communities the in exchange for or alittle food money. With people technical with special skillscould work units sufficient self become meantand alsoit hundreds of years. Craft making family helped Swedish interest incraft making back goes asan educationalseen model. Sweden, it infact hasalong and history can be interest inhandcrafts isnot concept anew in communication, 12,2020).But December the

185 L:G:MO>M:L:KBF=>K@ĀLĀ 186 :G:=HEN¦GĀO>KLĀM>LĀ for mostof hissummer cottage with that income. copies. He earned that enough so hecould pay loved and boxes carving carved aswell asBauer eveningsin the typically like an enthusiast and he thought it wasawaste of money. He hadto paint wanted to go to an but school art hisfamily me what heremembered, explaining hisfather Peter Nyberg’s father, Hasse Nyberg later told from hand second sources. sources, Oneof those craftBauer making copieswooden and carving alive today, Ihadto collect information the on Since none of from people the workshop the are communication, 12,2020).” December environmentin asocial (N.Flinck, personal andagency folk and art of course it place takes between necessity and expression, between to grasp, but Slöyd hasalways something been male. “Why isalmostimpossible people dothis Flinck explains that roughly 40%of are them personal communication, 12,2020).” December with hands their free intheir time(N.Flinck, 48% of the population is still involved inworking demographically, “the statistics show that about percentage of people interested incraft making Although it isdifficult to whatpredict the exact is of cultural and intangible heritage even today. Image 6:GöstaNyberg, “Princess Cottongrass”, Jönköping, Peter Nyberg Collection. educational system. craft important making wasstilla very part theof hypothesize year the Bauer copies came around schools” 1989:157).Onecan easily (Arvidsson, inurbancraftsmen.teachers These served mainly teachersspecialized hadbasically who trained as class teachers. The remaining 10%wasdone by 90%of because schools teaching wasdone by and 1940sremained paramount the in method education “though the modified during 1930s Sweden’sschools first Crafts.of His ideaof craft superintendent ofschool in acraft Nääs, one of came out aroundthebecame hefirst 1870 when 2020).”that Themodel Otto Salomon presented (H. Nyberg, personal communication, May 8, youtime so wanted to work on something were doing so. You didn’t at have the aTV sat and and of knit. hisacquaintances Several pastamongin the aunts the old the men,while was quite common to work and with wood paint personally,” headds.It wasahobby, “I it think copies too. But “I don’t anyone heknew think else probably other people heknew were making someone hadmadesuch who paintings most so “got to idea make the John Bauer’s copies from But Hasse Nyberg knows also that hisfather ass.’” (Ades etal. 1999: 132)Thissmalladdition in French achad au asElle ‘she cul, hasahot and inscription the L:H.O.O.Q. (pronounced to Duchamp which Lisa, addedabeard, mustache chromolithograph reproduction of Mona the appropriation discussing when It art. is“a cheap assisted readymade and isan important work L.H.O.O.Q isconsidered arectified to be or contemporary art. issues of copy rights and authenticity within anthere ongoing hasbeen on discussion the such asShigeko Kubata or Carolee Schnemann, of appropriationseries by art Feminist the artists Walker Evans or Edward Weston) or whole the VinciDa citing to Levine Sherrie Duchamp (or work. From Duchamp’s L.H.O.O.Q referencing had its breakthrough with Marcel Duchamp’s material, term isoften the considered to have back to Cubists the and of use their borrowed works. Even though appropriation can traced be “reference” commonly to define used such “Appropriation art”, “homage”, “pastiche” or of artworks cite which other artist’s work. of isfull Contemporary examples history Art notion of copy the are not discussions. new The issue of replicatingBauer works the or REPRODUCTION ANDAUTHENTICITY 7. ADISCUSSION ON interpretations of John Bauer.” hadcreatedthey for almostforty years were “free createdsignaling they something out of it. What John artist original to the Bauer but somehow were “free interpretations”, paying respects their and signature. were They awaretheir productions Bauerthe illustrations and inscription addtheir form, the itperfect carve delicately, reinterpret Whatwoodcarvers. Carlssons the didwasto copies were acommon activity for amateurs and Furthermore Hasse Nyberg proves, Bauer carving Carlssons making first started their copies. his father madewasdated 1939and in1941 Hasse Nyberg statedBauer also first the copy artwork moves to another dimension sinceit is with motion pictures value (cinema),the of the mechanical reproduction of image, the along physical space. Benjamin argues with the and authenticity of an art object inaparticular “aura” can explained which be uniqueness asthe Walter Benjamin’s critique stems from term the relevant indigital discourse. replication, something isespecially which comprehensive insights on surrounding ideas the of Poor Image amongst many others provide and Hito Steyerl’s more recent article In Defence Mechanical Reproduction (Benjamin, 1998:217) prominent essay The Workthe in Age Art of of on subject the matter. Walter Benjamin’s scholarly of There ahistory isalso work written perspectives. conceptually question an an idea, opinion and/or inventory of to utilizing artists methods these amongstSeries many others create asubstantial History Portraits, Richard Prince’s Cowboy Stella and George Cindy Sherman’s Segal, Sturtevant’s Repetitions and hercopies of Frank by society patriarchalthe the hegemony. Elaine questions values esthetic the upon imposed Shigeko Kubata and Carolee Schnemann to reproductions, replicas, remakes or homages. There is unendingan list when of comesit artists 2008:120) positionthe of original the image.” (Şahiner, viewer andthe “how multiplicity this weakens of images are which almostan imposition on multiplicity the inherwork,Levine, discusses Duchamp’s ‘urinal’ bronze wasinpolished cast. Fountain to another level, herversion of lifted Duchamp’s Levine Levine. Sherrie artist Duchamp’s Fountain waslater reproduced by the he could not avoid referenced being himself. ready mades,references and conceptual works, Duchamp changed course the of with art his almost blasphemy to some at time. the Although was considered an of to act be iconoclasm and

187 L:G:MO>M:L:KBF=>K@ĀLĀ 188 :G:=HEN¦GĀO>KLĀM>LĀ to embellish and reinterpret. aim their wasnotbecause just merely to copy but different very of reproduction aspect imagesof as ameans to reproduce image, the shows a way Carlsson the brothers utilized craft making were stilldependent on handmade tools. The where technologies the were limited and people of itself,a part looking back history on atime BauerThe copies the on handother are rather distribution of image the through digital means. reproduction/ printing of an image or the of effects their on throughart and media, the technological developments and an exploration Theiressaysdigital methods. are acritique on in different timeseitherthrough mechanical or withBenjamin issueof deal the reproduction auraa new around it.” (http Steyerl -4)Both and recovers some of its political punch and creates is richer. “By losing its visualsubstance it it provokes. Hence image, poor the contentwise, and travel fast,creates discussions and debates, with help the of mediait isabout to circulate potentialthe other meanings, because to carry image the though quality might bad, it be has other channels of distribution.” (http -4)But even ripped, remixed, aswell ascopied and pasted into digital connections, compressed, reproduced, image distributed for free, squeezed through slow preview, athumbnail, an errant an idea, itinerant but it isaccessible: “It of isaghost an image, a itbecause lacks quality, it hasbadresolution, plight of image the isdigital. It image isapoor mechanically whereas inHito Steyerl’s world the an imagewas discussing wasreproduced which changeable (Benjamin, 1998:223).”Benjamin tradition itself isthoroughly alive and extremely its inafabric imbedded being of tradition. The uniqueness of awork of isinseparable art from change understanding their of values. “The value of object art the changes associeties gainsart other values and functions. Thusthe itsloses aura but process inthe of reproduction, no longer inafixed place and is it multiple. It According to terms Eco the to defineacopy, between afake and an original (Eco, 1992:273). inorder and to expertise their distinguishexperts fake or forgery isbut to people rely choose on that hasan aboutbelieves idea everyone what a what original isthrough its opposite: Copy. Eco Eco inhisessay and Original Copy to tries define change from time to time, from person to person. its own definition. Originality of a work can century, Umberto Eco, meaning isthe it carries, to one of mostprominent the scholars of this One of problems the with originality according 2009: 66).”people (Sennett, and originals bonds form with other peculiar of contrast. this label asocial Originality isalso continued practice. But we should suspicious be craft names amore anonymous, collective and that isunique or at distinctive, whereas least tothinking: seems art draw attention to work of medieval guilds. The contrast still informs our was avalue that wasnot celebrated by rituals the originality of work the done originality inthem; indeed put avalue that wasnot celebrated on the apprentices, but masters the of studios these did artist’sthe studio filledwith assistants and isolation. Thecraft workshop continued as “Few worked infact artists in Sennett distinctions fields. argues: both between misconceptions it when comes to compare the arethese widely debated but isone this of the their skillthrough repetition. allof Certainly produced innumbers by craft makersperfecting can acollective be effort without authorship, whereasaim a specific artistic crafts making produced by one artistor agroup of artists with imply that artwork the isunique, an original, discussions about asadiscipline art we often beyond limitations the of craft making. In most skills of hand the and production of things goes mechanical and digital reproduction, where the craftfrom making acontext unboundfrom This paperon specifically has on focused “We read one of plaques the at random: ‘Dancer. moreposes intriguing questions: cast or abronze Ecoasks,healso recasting?” meaningthe of ‘fake’ applied when to aplaters plaque stating that are they copies. “But what is More importantly fake items those have abronze museumthe houses are genuine, some are not. inFlorida. AlthoughArt some of artifacts the copiedthe sculptures at Ringling Museum of Firstlandscapes heinvestigates inAmerica. worldsoriginality inimaginary and copied and with issue of the deals further Eco goes In Travels hisbook inHyperreality, Umberto 2009:69).” Or created “pictures inhismanner (Sennett, parts” but apprentices the produced hispictures. design and painted maybe “most the expressive painting or sculpting. The did artist overall and distinctive talents but it apprentice wasthe withperson authority atelier, inthe hehadpower We know for sure Renaissance the wasthe artist individual 2009:69).” (Sennett, connected to genius art -the the ifyou will-of an appearancethe of something suddenwas emotions of wonder and awe. In Renaissance, the suddenly comes into existence it arouses inus there wasnothing, and something because sudden appearance of something where before “Originality isamarker of time;it denotes the means changes through time: originalitySennett isalabel and what it actually was nothing.’ 2009:69).According (Sennett, to to mean ‘somethingused where before there traces it to one Greek word, “poesis,” which follows also Sennett word the “originality” and cannot sure exactly be what makes afake, fake. difficulty indefining thewhat originalis, we of ‘real object’ (Eco, 1992:273).” Since we have difficulty indefining the notion of‘original’ or difficulties indefiningterms these are due the to a fakebecause or isdifficult apseudo “many is quite an one. judgement obscure the Because According of idea to the what Sennett isauthentic valuesthe attribute they to authentic objects? people judge originality themselves? What are different light issues on of authenticity. How do distributionthe of images aswell asshedding a debatesnew on issueof the reproduction and reproduction isnot new, different times brought obvious that on discussion the authenticity and Benjamin, Hito Steyerl and Umberto Ecoit is lot of copies too. Given examples the of Walter of Sweden, it isaknown that fact hiswork hasa work culture inthe immersed of isso artist the ordinary copies of awell known artist’s work. The This paperbegan with adiscussion on a few %10%.75+10 luggage 2009:70).” (Sennett, write you down might inarulebook pack inyour to defining authenticity. “Originality ishard to are instructions to noset follow it when comes genuine and fake istotally grey and blurred, there (Eco, 2002:43).” Implying that area the between Wax Museum ismerely reproducing reality the its magicworld it isabsolute fantasy whereas the ismoreDisneyland hyperrealistic, within because fakes: “the Wax Museum and suggests that Eco compares to Disneyland aplace of ultimate andDisneyland how we perceive place. the Here, to taken anotherbe dimension of case inthe value it conveys, of idea the originality can 2002: 36).” Apart from definition the theand ignorant of aEurope long sincevanished? (Eco, thousand years hence, mementoes, visited these what would happen to visitor the who, a Here, an interesting Ecoposes question: “But lost (Eco, 2002:36).” technical criteria certain nothingyou is observe copy. But are those copies of asculpture, where if Napels.’ The So? European hasaRomanmuseum Romanthe copy] Museo isinthe Nazionale in of century fifth the B.C.The original [orrather Modern castinbronze from aGreek original

189 L:G:MO>M:L:KBF=>K@ĀLĀ 190 :G:=HEN¦GĀO>KLĀM>LĀ artists work.artists to tradition the Contrary of the created an adaptation, and referenced an belong They agreyto unconsciouslyarea,they justthey merely crafts,they were between. in and works their were neither artworks nor were brothers didnot belong to any field specifically of conceptualas awhole history Carlsson art. of vaguenessof the fakes and forgeries aswell Sennett’s of view Craftsman, Eco’sUmberto idea andarts crafts and create a betweenbridge repetition. It blur them helped area the between to through and perfected timewith they methods they werecraft methods making used methods, created avariation of hiswork with help the of conceptually asemployed by instead artists they culture. were They not questioning his works significance popularthe in of artist Swedish to John Bauer and were they well aware of the like citing an artist’s work, work the belonged What brothers Carlsson the created wasalmost maker. can given be by consumer the aswell asthe the work.the a judgement about originality the and value the of visit and ponder. consumer the In case this made like they to pastwhich time inthe reflect on, re- havecarvings intimecome to remind people of a and culture history local local and valued these of came Bauer the from carvings being part of a out at workshop. the of Some addedvalue the craftsmen theand “originals”who liked hanging to homes,was close their the people knew attractive objects inthemselves. The workshop or employees. They were carved masterfully on acquiring works, the asgifts their to children John Bauer’s work, yet keen public the wasvery issueofthe authorship. were They aware was it Carlsson brothersthe unintentionally addressed With free interpretations of John Bauer’s works waynew of operating. limits of own their stumbled practice they upon a (inscription) mattered. By moving beyond the interpretations, and perspective signatures conventional craft making atelier,their additions, http-4: https://www.e-flux.com/journal/10/61362/in-defense-of-the-poor-image/ (Accessed 02.December. 2020). • http-3:http://www.ibe.unesco.org/sites/default/files/salomone.PDF (Accessed 5.December. 2020). • http-2: http://www.bildhuggarverkstad.com/chapterthree/ (Accessed 22.May.2020). • http-1: http://www.bildhuggarverkstad.com (Accessed 21.May. 2020). • Şahiner, (2008).Sanatta R. Postmodern Kırılmalar, Istanbul: Yeni İnsan. • Steyerl, H.(2012).The Wretched of theScreen, Berlin: Sternbeg Press. • (2017).Swedish Folk Stories, Edinburgh: Floris Books. • Sennett, (2009).The R. Craftsman, London: Penguin Books. • Skobe, T. (2008).Inte Bara En Verkstad, Floby: Co-print. • Salomon, O. (2013).Teacher’s Hand-book of Slojd, North Carolina: Toolemara Press • Eco, U. (2002).Travels in Hyperreality, New York: Harcourt Books. • Image References Image Eco U. (1992). The Original and the Copy. In: Varela F.J., Dupuy JP. (eds) Understan • Boym, S.(2009).Nostaljinin Geleceği, (Çev. F. Aydar) Istanbul: Iletişim Yayınları. • Benjamin, W. (1988).Illuminations, New York: Random House. • Arvidsson, H.(2009).Swedish Crafts and Craft Education. Studies In Design Education Craft & Technology, 21(3). https://ojs. • Ades, D., Cox, N.,Hopkins, D. (1999).Marcel Duchamp. London: Thames and Hudson. • REFERENCES Image 6:Gösta Nyberg “Princess Cottongrass”, Jönköping, Peter Nyberg Collection. • Image 5:Tor Carlsson, “Leap the Elk”, Istanbul, Private Collection. • Image 4:Tor Carlsson, “Leap the Elk”, Istanbul, Private Collection. • Image 3:(2017).Swedish Folk Stories, Edinburgh: Floris Books. • Image 2:Tor Carlsson, the Troll Ride, Motala, Catherine Bolehed Collection. • Image 1:PJCarlsson’s workshop in 2020,Film Still, Personal Archive. • December. 2020). Philosophy and of History lboro.ac.uk/SDEC/article/view/923 (Accessed 10.December. 2020) Science, vol130.Springer, Science, Dordrech t. https://doi.or g/10.1007/978-94-015-8054-0_15 (Acce ding Origi ding ns. Boston Studies in the ssed 10. ssed

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