On 8 December last year, an angry mob managed to topple a statue of Vladimir Lenin in Kiev. In its place, a golden toilet was erected. It was just the latest of many popular protests against the public monumental art that came with fall of the Iron Curtain just over 20 years ago.
Even here at home, public art has periodically led to conflicts and controversies. Like in 2006, when Stina Opitz’s sculpture of a nine metre high hula hoop and a plaster dog in a roundabout in Linköping was vandalised and replaced by a whole series of popular roundabout dogs – a phenomenon that quickly spread across the country and was subsequently kidnapped by the anti-Muslim artist Lars Vilks.
In this issue of Form, photographer Ola Bergengren and I have travelled the country and looked at how public art is taking on new expression, beyond the classic bronze sculpture in the town square. The Public Arts Agency is the driving force behind an initiative where artists and architects collaborate already at the planning stage, which leads to a better cooperative climate between the two professional groups, and gives rise to new hybrids of art and architecture.
The best example is perhaps the University Library in Falun, where Danish architects Adept have collaborated with artist Jeppe Hein on a detached reflective metal facade that surrounds the building. When asked if they view Hein’s addition as an artistic assault, architect Martin Laursen replies: “
Not at all! We clearly think that the facade is a well integrated part of the building.”
In Hallonbergen, a Million Programme area on the outskirts of Sundbyberg, artist Kerstin Bergendal has taken public art a step further. By creating a dialogue between residents, officials and politicians, she has helped develop an alternative, popularly secured urban plan for the impending development in the area.
“What I did was to invite all parties to a conversation over coffee and cake,” says Kerstin Bergendal. “146 people came to the first meeting. In my role as artist, I ask my way forward and listen to all the answers. I talk to everyone, and make sure they in turn talk to each other. I would be the world’s best hoover salesman.”
That is one way to associate to the role of the artist.
Salka Hallström Bornold has also made some exciting home visits in this issue of Form: One to the home of beloved ceramics artist Lisa Larson, and one to the factory of family company Karl Andersson & Söner in Huskvarna.
And finally some brags. Ahead of the Tidskriftsdagen in November, the magazine Form was nominated in two categories: Innovative Venture of the Year, and Trade Magazine of the Year. From the jury’s motivation: “Form combines outstanding editing with journalistic brilliance, including a revelation of the design prince who reached far beyond his own target group.”
We couldn’t have said it better ourselves.
Thank you for reading Form!