Jens S Jensen’s (1946 –2015) 1970s documentation of Hammarkullen, a suburb outside Gothenburg, and Volvo car factory in Torslanda are seminal works in Swedish post war photography. The exhibition Jobba, leva, bo. Bilder av ett samhälle is connected to a donation of Jensen’s archive of negatives and images to the Gothenburg City Museum that I initiated and managed. The donation, and its strategies and implementation, was used as one of four case studies in a research project Med arkivet I skikte (With the Archive in Sight) led by Karin Wagner, and partly founded by Riksbankens Jubileumsfond. The aim of the research project (which was not fully realised due to lack of funding) was to create methods and good practise for the museums to deal with larger archives of photographers and filmmakers. The fact that Swedish museums lack a common and explicit strategy for dealing with this part of the cultural heritage is addressed by Nätverket Nationellt Ansvar för Fotografi i Sverige. It is a network of professionals and institutions promoting a national responsibility for photography in Sweden, and the network debated the issue in the national press and have had discussions with the Minister of Culture. See https://www.facebook.com/N%C3%A4tverket-Nationellt-ansvar-f%C3%B6r-fotografi-i-Sverige-917671145038360/ The curating of the exhibition was developed in close relation to the objectives and needs of Gothenburg City Museum. It is a cultural history museum withdifferent possibilities than Art and Photography institutions traditionally have. For me it has been important to focus on how the work could be presented in this particular time and context. Although the exhibition is a manifestation of the donation it is not a retrospective focusing on the photographer as an auteur, which would be the obvious perspective in an art-photography institution. The theme of the exhibition are the issues that Jensen investigated in his work. With texts and photographs he unfolded and discussed how labour and living influence people’s lives, and how thet are strongly connected to socio-political structures and questions of class. The exhibition also focuses on Jensen’s dialogue-oriented working method and his emphasis on the voices and stories of the people he is portraying. A representative selection of the interviews published in Jensen’s books Hammarkullen (1974) and Dom kallar oss bilbyggare (1978) have been read and recorded so that the visitor can listen to the stories on headphones in the exhibition. The interviews are also transmitted on low volume in speakers, and the different voices telling stories about theirlives creates a choir-like sound in the space.One important aim has been to find new ways of approaching and mediating Jensen’s work, and to create an exhibition that is not limited to the historical period of the 1970s (and the risk of a nostalgic reading of the images). Jensen’s documentation has therefore been used as a stepping stone for a continuous exploration of how it is to live in Hammarkullen and work at Volvo today. As an addition to the photographs and interviews from the 70s new stories have been collected by staff at the museum. They are visually and conceptually presented as a new layer, which creates a dialogue between then and now. The contrast that is manifested in how the works are presented and the display makes it possible to see and reflect on the changes and continuities in society –viewed from the perspective of labour and living. The peopleinterviewed 2018 are photographed by Annika von Hausswolff. The portraits are in colour and hanged on the black-and-white images by Jensen. Around 250 of his negatives have been scanned and digitally printed. Most of the images have not been shown before. One of the reasons to enlarge the images and present them on a wall paper is to direct the attention away from the fetishizing of the vintage print. It is an approach in line with Jensen’s own–and the 1970s documentary traditions –aesthetics and ethics. The content of the exhibition has been developed in close collaboration with the staff at the museum. They are ethnographers and historians and their knowledge and expertise have been particularly important in the design of the part of the exhibition which gives the social, political and economic background and explains the larger structural tendencies and developments that shaped Swedish society during the post-war era. The technical and communications teams have been equally important in developing the design of the exhibition. A key element of the exhibition is the collaboration with Mixgården, a youth club in Hammarkullen. They have created an exhibition in dialogue with Jensen’s work, and are hosting a program at the museum during one month. Students at Valand Academy’s photo program (BA2) will also make an exhibition inspired by Jensen’s work during February 2019 and presented in the museum’s project room.