| dc.date.accessioned | 2017-12-21T12:00:52Z | |
| dc.date.available | 2017-12-21T12:00:52Z | |
| dc.date.issued | 2017 | |
| dc.identifier.uri | http://hdl.handle.net/2077/54770 | |
| dc.subject | Paradigm Shift | sv |
| dc.subject | Modernism | sv |
| dc.subject | Postmodernism | sv |
| dc.subject | Swedish Postwar Art | sv |
| dc.subject | Private Art Collection | sv |
| dc.title | Andra sidan skiftet: Svensk konst 1947–1987 ur Albert Bonnier Förlags samling | sv |
| dc.title.alternative | Another Side of the Shift: Swedish Art 1947–1987 from Albert Bonniers Publishing House’s Collection | sv |
| dc.type.svep | artistic work | |
| dc.contributor.creator | Östlind, Niclas | |
| art.typeOfWork | Curated exhibition and editing of book | sv |
| art.relation.publishedIn | 31 May-20 August | sv |
| art.relation.publishedIn | Bonniers konsthall, Stockholm | sv |
| art.relation.publishedIn | Presentations in Swedish and English | sv |
| art.description.project | The commission I got from Bonniers Konsthall was to curate the second exhibition in a series focusing on private and/or corporate collections. The collection I worked with belongs to Albert Bonniers Förlag and is on display at their main office in Stockholm. It consists of around 1 000 works of Swedish artist. It is mostly painting and sculpture, and the works were bought with the purpose to be installed at the publishing house. There isn’t one individual office, meeting room, lunchroom or corridor where the walls aren’t covered with art. One person made all the acquisitions and built the collection: Gerard Bonnier (1917–1987). He was a very influential publisher and through his position and close connections with the writers he shaped the literary scene, not at least in the 1940s and 1950s, but also during the experimental period in the 1960s. Gerard Bonnier was also a passionate art collector, and although he was the CEO of Bonnier Publishing House, he was also very active in the art scene. He was director of the board of the Friends of Moderna Museet for almost twenty years, and he was engaged in SAK for decades. It is a public association for promoting the interest in and development of contemporary art. Gerard Bonnier started to collect in the mid-1940 and bought the last works just before he died in 1987. Gerard Bonnier’s position, collecting and networks made him one of the most important persons in the Swedish art scene during the years when Moderna Museet was inaugurated 1958 and the decades that followed. Privately he collected international modernism, and his donation to Moderna Museet in Stockholm of works by Picasso, Chagall, Giacomette, Klein among others is the most valuable they have been awarded.
One of the objectives was that the exhibition shouldn’t focus on the collector, and that the curatorial perspective was formulated in a way that the presentation of the collection unfolded aspects, which could bring a deeper understanding of Swedish art history. The answer to the problem was found in the time period the collection was built, between 1947 – when the young generation of modernist painters made their breakthrough – and 1987, the year when the postmodernism shift changed the Swedish art scene. The circumstances around the collection make it one of the most representative of Swedish post war art. Seen in the light of postmodern critique, what until 1987 had been considered the most interesting and important art now represented an obsolete and dated aesthetic paradigm. For three decades many of the artists represented in the collection have been seen as part of “Other side”, and lost their visibility in the public. The aim of the exhibition was to revisit the modernist tradition and present a more nuanced image of the works, than the interpretation that was formulated from a dominating postmodern position. The aim was also to discuss how history writing is part of and depending on questions of power and positioning in the cultural field. By focusing on the turning points –1947 and 1987 – the exhibition, and the book that was published in conjunction with the exhibition, made it possible to reflect on the establishing and shift of two succeeding power structures in the art scene.
An important effect of the exhibition was that it did bring new light on artists that haven’t been displayed and discusses much after 1987, and it was possible to see the complexity of artistic expressions and conceptual dimensions of the late-Modernist tradition – not at least the strong relation between text and images. But it also showed that the collection, which was built from a position in the centre of the power elite, didn’t include any of the political art that to a large extent defined the art scene in the late 1960s and early 1970s. | sv |
| art.description.summary | In 1987 the postmodern shift took place in Swedish art. It changed both the contemporary scene and the evaluation of the postwar art. It has passed thirty years since then and the exhibition revisits the period 1947–1987 through the works in one of the most important private collections: Albert Bonnier Förlags Collection. | sv |
| art.description.supportedBy | The Exhibiton was financed by Bonniers Konsthall, and the book was financed and published by Albert Bonniers Förlag. | sv |
| art.relation.uri | http://www.bonnierskonsthall.se/en/utstallning/another-side-of-the-shift/ | sv |
| art.relation.uri | http://www.bonnierskonsthall.se/en/calendar/#m5 | sv |
| art.relation.uri | http://www.omkonst.com/17-andra-sidan-skiftet-bonniers-konsthall.shtml | sv |
| art.relation.uri | https://www.expressen.se/kultur/konst/uppfriskande-inblick-fran-gerard-bonniers-kontor/ | sv |
| art.relation.uri | https://www.svd.se/personligt-och-busigt--men-missa-inte-undanskymda-delen | sv |
| art.relation.uri | https://www.dn.se/kultur-noje/konst-form/andra-sidan-skiftet-gerard-bonniers-samlade-konst-pa-bonniers-konsthall/ | sv |
| art.relation.uri | https://www.aftonbladet.se/kultur/konst/a/GVbEl/fint-pa-kontoret | sv |
