Appeal to Save NU


Lars Nilsson, Gertrud Sandqvist and Lars Nittve took the initiative to
the appeal Save Nu!, which was sent to the Nordic Council of Ministers
and to Nordic media.

Save NU!

We are distressed to hear that NU: The Nordic Art Review is threatened
with immediate closure. If new funds are not made available it will not
even be possible to print the issue now ready for the presses. This is
a tragedy for the Nordic art scene. During the 15 years of siksi’s and
then NU’s existence, the magazine has created a platform for Nordic and
Baltic art, and for a unique art criticism. In practice, NU is the only
way for the art public outside the Nordic countries and the Baltic region
to get regular information about one of the most dynamic art scenes in
Europe. A magazine that, like NU, has become an institution cannot be
made to order. It is the result of a unique combination of devotion, hard
work, knowledge and commitment. If NU is not saved, it will be extremely
difficult to establish anything comparable within the foreseeable future.
We are afraid that a disastrous mistake is about to be made. We therefore
appeal to the Nordic Council of Ministers to make a far-sighted decision
at their meeting on November 29.

Lars Nilsson, artist and professor at the Malmö Art Academy
Gertrud Sandqvist, critic and Prefect of the Malmö Art Academy
Lars Nittve, museum director Moderna Museet, Stockholm
Sune Nordgren, chef Baltic, Centre for Contemporary Art, Gateshead, England

Jutta Kübler Boström, Karlstads Universitetsbibliotek
Thomas Broomé, konstnär, forskare
Göran Hassler
Joachim Carlsson
Christian Chambert, ordf. Svenska Konstkritikersamfundet
Sanna Wikström
Björn Widegren
Malin Hedlin Hayden
Ingela Lind, konstkritiker, Dagens Nyheter
Stefan Nilson, Nerikes Allehanda
Igor Isaksson, arkitekt
Sven-Olof Wallenstein, konstkritiker, Konsthögskolan Valand och Konstfackskolan

Katarina Wadstein, London
Thomas Olsson
Cecilia Blomberg, kulturred Sveriges Radio
Matts Leiderstam, konstnär
Lena Malm
Karl Holmqvist, konstnär
Ulf Beckman, chefred., FORM
Stina Högkvist
Cecilia Widenheim, intendent, Moderna Museet
Ronny Hansson, konstnär
Chris Darke, konstkritiker, London
Anders Kreuger, oberoende curator, Stockholm/Vilnius
Aernout Mik, konstnär, Amsterdam
Akiko Miyake, curator, Centre for Contemporary Art, Kitakyushu, Japan

Mikael Bergkvist, arkitekt SAR
Jan-Gunnar Sjölin, professor konstvetenskap, Lunds Universitet
Lena From, journalist, Laurence, USA
Iréne Berggren
Annelie Nilsson, konstnär, Malmö
Karsten Thurfjell, kulturred, Sveriges Radio
Göran Sörbom, professor, Uppsala Universitet
Charles Esche, chef, Rooseum
Åsa Nacking, intendent, Rooseum
Isabell Dahlberg, Rooseum
Anderas Nordström, Rooseum
Martin Widerberg, Rooseum
Frida Cornell, Rooseum
Helena Trenk, Rooseum
Lene Crome Jenssen, Rooseum
Susanne Olssson, Rooseum
Eva Borgegård, museichef, Västerås Konstmuseum
Maria Hellström, konstnär och forskare, Cambridge
Morten Goll, konstnär, Köpenhamn och Los Angeles
Tone Nielsen, curator, Köpenhamn och Los Angeles
Måns Holst-Ekström, konstvetare, Kungliga Konsthögskolan,
Stockholm
Gustav Hellberg, Berlin
Eva Löfdahl, konstnär, Stockholm
Axel Lieber, konstnär, Malmö/Berlin
Torsten Weimarck, professor Konstvetenskap, Lunds Universitet
Carin Sunesson, konstnär
Johan Sunesson, konstnär
Christoph Tannert, director Künstlerhaus Bethanien, Berlin
Jan Hemmel
Arturas Raila, konstnär, Vilnius
Bengt Olof Johansson, konstnär, professor Konsthögskolan Valand

Anette Abrahamsson, konstnär, Köpenhamn
Ulrika Stahre, konstkritiker, Aftonbladet
Andreas Ribbung, konstnär, Stockholm
Pontus Kyander, konstkritiker, Sydsvenska Dagbladet
Per Engström, redaktör, Pequod
Elisabet Apelmo, konstnär, Malmö
Niels Hebert
Marianne Hultman, curatorutbildning, Konstfack
Ina Blom, professor, konsthistoria, Oslo Universitet
Eva Klerck Gange, intendent, Museet for Samtidskunst, Oslo
Gerd Tinglum, konstnär, professor Statens Kunst-og Håntverksskole,
Oslo
Dirk Snauwert, director, Kunstverein München
Anna Brag, konstnär
Åsa Maria Bengtsson, konstnär, Malmö
Hjördis Kristensson, konstvetare, Lund
Isabella Nilsson, chef, Uppsala Konstmuseum
Anna Livion-Ingvarsson, Uppsala
Annika Ericsson, konstnär, Stockholm
Dan Karlholm, konsthistoriker och kritiker
Jan Svenungsson, konstnär, Berlin
Cecilia Sterner, konstnär
Max Liljefors
Fred Andersson, Karlstad
Jens Fänge, konstnär, adjunkt, Konsthögskolan i Malmö

Folke Edwards, museichef, Göteborg
Gert Z Nordström, professor, Konstfack
Anne Karin Jortveit, Museet for Samtidskunst, Oslo
Johan Tirén, konstnär, Köpenhamn
Stephen Cuzner, Stockholm
Johan Pousette, verksamhetsledare, BalticArt Center, Visby
Sophie Tottie, konstnär, professor, Konsthögskolan i Malmö

Cecilia Qvarnström, Malmö
Julia Tedroff, Högskolan för Film och Fotografi, Göteborg

Ina Bengtsson
Magnus Wallin, konstnär, Malmö
Eva-Lena Tholin, curator, Malmö
Jan-Torsten Ahlstrand, museichef Skissernas Museum, Lund
Lynne Cooke, curator, Dia Center for the Arts, New York
Malin Lobell, konstnär
Charlotte Bydler, konstkritiker
Cristina Karlstam, Uppsala Nya Tidning
Mats Stjernstedt, curator, Index
Johanna Olofsson
Jone Kvie, konstnär
Lisa Skogh
Sara Jordenö, konstnär, Los Angeles
Lars Drougge, SAAB:s konstförening
Johan Malmöström, konstnär, Stockholm
Anna Henriksson
Lars Ramberg, konstnär, Berlin
Klas Peterson, Linköping
Lotte Sandberg, kritiker, Aftenposten, Oslo
Stein Rønning, konstnär, professor, Statens Kunstakademi,
Oslo
Elsebeth Jørgensen, konstnär, Köpenhamn
Ulrika Levén, curator, Carnegie Art Award
Evelina Gustavsson
Kristin Skoog
Ottilia Holmström, konstnär
Carl Boutard, studerande, Iceland Academy of the Arts
Monika Larsen Dennis, konstnär
Charlotta Rosengren
Living Art Museum, Reykjavik
Shep Steiner, professor, kritiker, Edinburgh College of Art
Isak Eldh
Anna Wignell
Olav Christopher Jenssen, konstnär, Berlin
Lars Grambye, curator, chef, Danish Centre for Contemporary Art
Ann-Sofi Sidén, konstnär, New York/Berlin
Annika Drougge, konstnär, Stockholm
Bodil Jenssen Nygaard, konstnär, Köpenhamn
Annika Holmér
Eva Sjöblom Millqvist
Ragnar Millqvist
Kajsa Dahlberg, konstnär, Chicago
Christian Andersson, konstnär, Chicago
Sara Brolund Cavalio, studerande, Högskolan för Film och Fotografi,
Göteborg
Jonas Dahlberg, konstnär, Stockholm
Klaus Jung, konstnär, rektor, Kunsthøyskolen i Bergen
Hans Hedberg, rektor, Konsthögskolan Valand
Kristen Dufour, konstnär, Space of Advanced Art Studies, Köpenhamn

Finn Thybro Andersen
Hans Hamid Rasmussen, konstnär, Oslo
Kia Nordqvist, Konsthögskolan Valand
Hampus Pettersson, Konsthögskolan Valand
Jon Brunberg, konstnär, Berlin
Jan-Erik Lundström, museichef, Bildmuseet, Umeå
Helmtrud Nyström, konstnär, Lund
Camilla Eeg, Oslo
Helen Tak, Göteborg
Torben Christensen, konstnär, professor mediekunst, Det kongelige
Danske Kunstakademi,
Köpenhamn
Margaretha Tillberg, konstvetenskapliga institutionen, Stockholms Universitet

Cecilia Grönberg, Högskolan för Film och Fotografi, Göteborg

Luca Frei, Signal, Malmö
Magnus Thierfelder, Signal
Elena Tzitsi, Signal
Runo Lagomarsino, Signal
Karlotta Blöndahl, Signal
Karin Elmgren
Lise Nelleman, konstnär, organisatör Sparwasser HQ, Berlin
Maria Thereza Alves, konstnär, Berlin
Annika Öhrner, curator, Stockholm
Carina Randlev, konstnär, Köpenhamn och Berlin
Lise Harlev, konstnär, Köpenhamn
Gunilla Grahn-Hinfors, konstkritiker, Göteborgs-posten
Johan Hultén, Köpenhamn/Berlin
Ann-Sofi Noring, Moderna Museet
Justine Pizzo, DIA Center for the Arts, New York
Gustav Hellberg, konstnär, Berlin
Christel Sverre, konstnär, curator, Oslo
Cecilia Parsberg, konstnär, professor Konsthögskolan i Umeå

Maria Friberg, konstnär, Stockholm
Kati Kivinen, coordinator FRAME, Finland
Paula Toppila, curator, FRAME, Finland
Inger M Renberg, Rogaland Kunstmuseum, Stavanger, Norge
Peter S Meyer, museidirektör, Trapholt, Danmark
Rune Gade, Ph.D., Institut for Kunsthistorie og Teatervidenskap, Københavns
Universitet
Børre Saethre, konstnär, Oslo/Berlin/New York
Jacob Fabricius, curator, Köpenhamn
Sara Gustavsson
Victor Ollén, konstnär, Malmö
Annika Simonsson, konstnär, Berlin
Marit Lindberg
Peter Callesen, Köpenhamn
Anne-Marie Ericsson, fil.dr, Stockholm
Charlotte Sæbro, ledende museumsinspektör, Kobberstikssamlingen,
Statens Museum for
Kunst, Köpenhamn
Maria Bergman Drougge, Köpenhamn
Søren Martinsen, konstnär, Köpenhamn
Marika Reuterswärd, curator, Malmö Konstmuseum
Göran Christenson, museichef, Malmö Konstmuseum
David Neuman, Direktör, Magasin 3, Stockholms Konsthall
Richard Juhlin, curator, Magasin 3 , Stockholms Konsthall
Nina Eklöf, Magasin 3, Stockholms Konsthall
Joachim Koester, konstnär, Köpenhamn/New York
Andreas Jørgensen, Dr, Direktör Würtembergischer Kunstverein,
Stuttgart
Lilibeth Cuenca Rasmussen
Claes Nordenhake, gallerist, Stockholm/Berlin
Nicolai Wallner, gallerist, Köpenhamn
Peter Land, konstnär, Köpenhamn
Jeanette Schou, konstnär, Köpenhamn
Jannicke Laker, konstnär, Berlin
Tove Schalin
Jenny Håkansson
Birgitta Arvas, Moderna Museet, Stockholm
Linne Jacobsen, studerande, Konsthögskolan i Malmö
Bertil H Schultze, hälsobyrån EURO RSCG, Stockholm
Pontus Bonnier, ordförande Moderna Museets Vänner
Annika Krut, Moderna Museet
Annika Wiström, studerande, Malmö
Erik Snedsbøl, konstnär, Norge/Sverige
Marika Bredler, konstnär, Malmö
Torbjörn Limé, konstnär, Malmö
Birgitta Forsberg, Forsberg reklambyrå, Stockholm
Johanna Tymark
Elisabeth Haitto Connah, konstvetare
Jürgen H Jacobsen, konstnär, Danmark/Kiel
Tova Rudin-Lundell, Göteborg
Aashild Grana, konsthistoriker, Oslo
Roger Connah, visiting professor of Texas and Arlington, North Wales,
UK,
Johan Bengt-Påhlsson, kulturråd, Berlin
Margaretha Gustavsson
Cilene Andrehn, Galleri Andrehn-Schiptjenko, Stockholm
Per-Isak Snälls, Konsthögskolan Valand
Jessica Kempe, kritiker, Dagens Nyheter
Jydske Kunstakademi, Århus
Jörgen Svensson, konstnär, professor, Konsthögskolan Valand

Niclas Östlind, curator, Liljevalchs konsthall, Stockholm
Niels Hebert
Kari Mjåtveit, konstnär, lektor, Konsthögskolan Valand

Ingvill Hemmo, redaktör, Billedkunst, Norge
Line Rosenvinge, konsthistoriker, Köpenhamn
Gunilla Klingberg
Peter Geschwind, konstnär, Stockholm
Jarle Strømodden, intendent, Tromsø kunstforening
Hege Tapio, Sola, Norge
Johanna Lundin
Terje Nicolaisen
Hedevig Anker
Per Bjarne Boym, Direktör Statens Museum for Samtidskunst, Oslo
Beathe C. Rønning, Köpenhamn/Oslo
Ketil Nergaard, konstnär, Oslo
Jan Valentin Saether, konstnär, professor, Statens Kunstakademi,
Oslo
Hanne Storm Ofteland, redaktör barokk/minimalism, e-zine for kunstkritikk

Petri Ruppana, Köpenhamn
Magnus Lindgren, grafisk formgivare, Magazine AB
Hilde Maitey
Yngvar Larsen, konstnär, 1. Amanuens, Institutt for landskapsplanlegging,
NLH, Norge
Arno Victor Nielsen, filosof, professor, Köpenhamn/Bergen
Ulf Verner Carlsson
Pierre Lionel Matte, konstnär, Oslo
Atle Gerhardsen, gallerist, Berlin
Hilde Skjeggestad, konstnär, Bergen, Norge
Solveig Kjøk, konstnär, Brooklyn, NY, USA
Lena Leeb-Lundberg, Malmö Konsthall
Année Olofsson, konstnär, New York
Øyvind Pål Farstad, konstnär, Norge
Tiril Schrøder, konstnär, Oslo
Æsa Björk Thorsteinsdóttir, Bergen, Norge
Torill Nøst, konstnär, Bergen
Kurt Johannessen, konstnär, Bergen
Pia Kristoffersson, intendent, Gävle Konstcentrum
Krista Mikkola, gallerist, Helsingfors
Elaine McGeorge
Jon Øien
Lars Vilks, konstnär, professor vid Kunsthøyskolen, Bergen

Björn Wangen, Malmö
Maarit Paasche
Marius Dybwand Brandrud
Per Platou, konstnär, kritiker, Oslo
Ingrid Beven
Niels Bonde, konstnär, adjunkt Konsthögskolan i Malmö
Dag-Are Haugan, studerande Konsthögskolan i Malmö
Tova Mozard
Ylva Westerlund
Ann Böttcher
Karin Göransson, inst sekr, Konsthögskolan i Malmö
Ellinor Algin, studerande, Konsthögskolan i Malmö
Anna Ling
Beata Fransson
Pärnilla Zetterlund
Ewa Einhorn
Tomas Gilljam
Andreas Poppelier
Anders Sletvold Moe
Helena Wikenstam
Bettina Fürstenberg
Petra Bauer
Unnar Jonasson
P O Persson, lektor vid Konsthögskolan i Malmö
Friedrich Meschede, Dr, DAAD, Berliner Künstlerprogramm, Berlin
Line Væring, Trondheim, Norge
Sol Snelvedt, konstnär, London/Oslo
Endre Aalrust
Leo Andreas Grunfeld, Oslo
Line B.Løkken
Aud-Kristin Kongsbro Haldorssen
Line Grünfeld
Therese Christenssen, konstnär
Erling Thor Valsson, konstnär, Köpenhamn/Island
Signe M Andersen, Oslo
Erik Anker, sivilarkitekt, Oslo
Tuula Arkio, Museidirektör, Statens Konstmuseer, Helsingfors
Kjersti Solberg Monsen
Katinka Ahlbom, Antenna
Bettina Pehrsson
Laura Fahlsten, Antenna
Johan Nobell
Thomas Elovsson
Pia König
Arne B.Langleite
Per Hasselberg, studerande, Konsthögskolan i Malmö
Jerôme Sans, co-director, Palais de Tokyo, Paris
Grete Elvenes, studerande, Bergen
Veronica Diesen, curator
Ragnhild Fjellmo
Jan v Bonsdorff, professor, Institutt for Kunsthistorie, Universitetet
i Tromsø
Marketta Seppälä, Direktör, FRAME, Helsingfors
Dag Solhjell
Gro Kraft, avdelningsleder, Museet for Samtidskunst, Oslo
Marie Theil Reynolds, studerande, Högskolan för Film och Fotografi,
Göteborg
Anne Helen Mydland, konstnär, Bergen
Leif Holmstrand, stud. Konsthögskolan i Malmö
Thea Winter
Bera Nordahl, konsthallschef, Malmö Konsthall
Bettina Vestergaard, studerande Konsthögskolan i Malmö
Hannah Paradis
Sergio Frazao
Svein Ingvoll Pedersen, Tromsø, Norge
Helen Thorp Andersen, konstnär, Trondheim
Line Bergseth, konstnär, Oslo
Kjetil Kausland, studerande Kunsthøyskolen i Bergen
Power Ekroth
Poul-Erik Tøjner, museidirektör, Louisiana, Danmark
Kristine Kern, konstkritiker, Danmark
Marte Eknaes, California Institute of the Arts
Kristin Bergaust, konstnär, professor, Kunstakademiet, Trondheim

Bodil Eide, Oslo
Lotta Antonsson, konstnär
Petter Magnusson, studerande, Kunsthøyskolen, Bergen
Helene Selvåg
Lovisa Lönnebo, t f kommunikationschef, Moderna Museet
Norske Kunsthåndverkere genom Martina Kaufmann
Ingrid Strömberg, Moderna Museet
Eyvind Furnesvik, förstekonsulent, utsmykkningsfondet for offentlige
bygg, Norge
Viel Bjerkeset Andersen
Anders Soma, Stockholm
Jenny Nyberg
Mikael Adsenius, Moderna Museets internationella program
Katja Høst, konstnär, Danmark
Charlotte Norlin, Moderna Museet
Joa Ljungberg, projektkoordinator Moderna Museet
Katinka Maraz
Agneta Modig Tham
Siri Ekker Svendsen, Bergen, Norge
Nina BangNorge
Anne Traegde
Karen Kiphoff, konstnär, professor Kunsthøyskolen Bergen
Petra Rahm, Bergen
Ute Meta Bauer, co-curator Documenta 11, professor for Theory, Practice
and Mediation of
Contemporary Art, Academy of Fine Arts, Vienna
Ninja Benneche, kulturavdelningen, NRK, Norge
Catrine Torstensen, Oslo
Cornelia Glitsen, Oslo
Vibeke Tandberg, konstnär, Oslo
Erikka Fyrad, konstnär, Oslo
Madeleine Park, galerie G.U.N., Oslo
Ajla Steinvåg
Anne-Britt Aarseth, Tjøme, Norge
Alf Bugge Gjerstad
Brite Hindal
Maria Hedlund, konstnär, adjunkt Konsthösgkolan i Malmö

Maria Falk
Hilde Renee Opdal, hovedfagsstudent, Kunsthøyskolen, Bergen
Anna Enberg, Moderna Museet
Bjørn Bjarre, konstnär, redaktör UKS-Forum for samtidskunst
Oslo
Hilde H Kvig
NBK, Norske Billedkunstnere genom Gidslun Braadlie
Norsk Billedhoggerforening (290 kunstnere), genom Lisbet Rjarto, daglige
leder, Galleri III for
tredimensjonal kunst
Jakob Kolding
Gitte Villesen, konstnär, Köpenhamn/Berlin
Ebba Moi, Oslo, Norge
Elisabet Haglund, museichef, Borås
Annette Maradon, Bergen
Andre Steenbuch Maradon, Bergen

Svenska Konstkritikersamfundet

Swedish Art Critics’ Association (AICA) Uppsala May 17, 2001

Mr. Tadeusz Gleinert
Chairman
Cultural Commission of the City Council
GDANSK
Poland

Concerning Laznia Centre for Contemporary Art

Information has reached us that the Cultural Commission of the City Council of Gdansk takes into consideration to change the Regulations for Laznia Centre for Contemporary Art and include severe restrictions for the Director.

The Swedish AICA supports the statement of the international Bureau of AICA from February 2001. ”AICA deplores the politicised interference of government administrators, public officials, and private associations against art institutions, their directors, curatorial staff, and exhibition programs.”

It is shocking to listen to the ongoing attacks on Laznia, an institution which has contributed to the international art scene with a series of stimulating exhibitions. Laznia is one of the art centres in the Baltic area, which breaks fresh ground and attracts the audience with its enthusiasm. The Centre has produced several highly acclaimed exhibitions. It is of vital interest for the whole region that the Director and her curatorial staff will have the possibility to continue the exhibition program in an independent way.

The exhibitions curated by Aneta Szylak, the Center’s dynamic and defiant Director, which I visited, both the ones at Laznia and the Rauma biennial, showed professionalism. They were inspiring and provoking.

In June 1998 Aneta Szylak participated in the AICA round table ”The New Europe. A Cluster of Peripheries” during the opening days of Manifesta II in Luxembourg. She informed the international audience about the strategies of Laznia. At the beginning of the summer 1999 Aneta Szylak initiated and arranged in an excellent way the Post Congress tour of AICA to Gdansk.

The Swedish AICA assumes that the Cultural Commission of the City Council of Gdansk will consider its responsibility and confirm that the Director and the curatorial staff of Laznia will have the possibility to continue their exhibition program and other activities without politicized interference and with the necessary financial resources.

Yours sincerely,

Christian Chambert
President of Swedish AICA
Vice president AICA

Report from the Swedish section

Section activities.

After the annual general meeting on March 21, 2000, at Tensta konsthall, Ulf Rollof showed his appreciated exhibition ”Desert” and the director Gregor Wroblewski informed the meeting about the activities of the place. Anna Gunnert was elected new member of the board. 16 new members were elected. After the annual general meeting at Swedish Broadcasting in Stockholm on March 28, 2001, Kristofer Lundström and Peter O Nilsson informed the meeting about the new daily news TV program on culture, Kulturnyheterna. A lively discussion followed. At the meeting Lena From was elected new member of the board. 17 new members were elected.

Christian Chambert published an article in the daily newspaper Dagens Nyheter on August 3, 2000, defending the Art History department in Lund, which was threatened to lose half of its financial resources. Furthermore the Swedish AICA section wrote a letter of protest to the board of the University of Lund, September 7.

The Swedish AICA is constructing a home page – www.aicasweden.org – where all members have been invited to publish their addresses etc. Until now only five members out of 241 refused to participate. Joel Westerberg is new web master.

Three of our colleagues died: Catharina Bauer, Ingamaj Beck and Ilmar Laaban.

International AICA.

On March 22, 2000, the members Ingamaj Beck, Christian Chambert and Jan Håfström participated in the seminar on the Ars Aevi project in Sarajevo arranged by Swedish Travelling Exhibitions (Riksutställningar) at The College of Fine Arts (Konsthögskolan) in Stockholm.

Christian Chambert represented the president of AICA, Kim Levin, at the Ars Aevi meeting in Sarajevo on June 24 – 25.

The board of the Swedish section participated in the planning of the AICA round table ”Untranslatable Distances” in Ljubljana on June 23.

Christian Chambert and John Peter Nilsson belong to the Editorial Board of Art Planet.

Art in public space.

The Swedish AICA section is since 1999 collaborating with National Public Art Council (Statens konstråd) on a series of programs on art in public space which are free of charge and open to the public. The seminars are held in the exhibition room of National Public Art Council in Stockholm. Ann-Sofi Noring is coordinator of the project.

1. Mats Stjernstedt talked with Monika Nyström, March 30, 2000.
2. Leif Nylén discussed with Joakim Pirinen, May 18.
3. A panel discussion was arranged about the piece by Silja Rantanen
at Arlanda Airport, including the artist, Gert Wingårdh and Catharina Gabrielsson with Peder Alton as moderator, October 17. 4. Andreas Eriksson presented his work, February 13, 2001.
5. Pontus Kyander talked about the piece by Maaria Wirkkala, March 14.

On December 4, 2000 a round table was arranged by the National Public Art Council in collaboration with Swedish AICA, IASPIS (International Artists? Studio Program in Sweden) and The Foundation Culture of the Future (Framtidens kultur). The theme was ”The Stockholm Conference” – perspective on art in public space New York – Sweden”. On the panel: Laura Raicovich, Anne Pasternak, Pontus Kyander, Martin Wickström with Annika Öhrner as moderator.

”Does it matter.”

The series of lectures on art theory and the theory of architecture, which started in December 1999, continued during the spring of 2000. The Swedish AICA collaborated with IASPIS and SA (the association of the architects in Stockholm). Coordinators: Milou Allerholm, Daniel Birnbaum, Christian Chambert and Catharina Gabrielsson. The lectures took place at The Royal Swedish Academy of Fine Arts (Konstakademien) in Stockholm.

1. Renata Salecl talked about ”The Arts of War and the War of Arts”, February 14, 2000.
2. Jennifer Bloomer lectured on ”XYO1: Architecture, Information and Cosmology”, March 13.
3. Robert Segrest talked about ”Drift/Zones: Posthuman Urbanism in America”, March 17.
4. Sarah Wigglesworth lectured on ”Girl’s Talk: Reflections on a Gendered Architectural Practice”, April 10.
5. Marysia Lewandowska and Neil Cummings talked about ”In an emergency, sharpen a pencil with a vegetable peeler”, April 25.

Art reviews.

On October 1, 2000, Swedish AICA, in collaboration with the Biennal of Cultural Reviews 2000 in Malmö, arranged a round table discussion of ”The New Rooms of Art Reviews”; moderator: Christian Chambert; panel: Cecilia Gelin, Pontus Kyander, John Peter Nilsson, Bo Madestrand, Tine Nygaard and Katya Sander.

”What’s going on.”

The collaboration with IASPIS continued on the series of lectures in ”What’s going on”. On October 13, Adam Szymczyk talked about the art scene in Warsaw at The Royal Swedish Academy of Fine Arts in Stockholm.

”The Super critics.”

On January 25, 2001 the section arranged a panel discussion on the ethics of art criticism at Färgfabriken (”Colour factory”), Stockholm, in collaboration with Färgfabriken and ABF (Workers’ Educational Association). The meeting was free of charge and open to the public. The title: ”The Super critics. Can anybody think whatever he or she wants?” Panel: Anna Brodow, Mårten Castenfors, Lars O Ericsson, Nils Forsberg, Anders Olofsson, Ulrika Stahre and Björn Östlund. The panel was moderated by: John Peter Nilsson and Jan Åman.

Future activities.

Swedish AICA is considering the possibility to arrange a series of programs at Liljevalch’s Art Gallery (Liljevalchs konsthall), Stockholm, in collaboration with its new curator Niclas Östlind.

We are also planning a seminar in Stockholm on the research work on art criticism of the Art History department in Lund. Contact person: Jan-Gunnar Sjölin.

In the spring of 2002, Swedish AICA in collaboration with National Public Art Council and Swedish General Art Society (Sveriges Allmänna konstförening) for the first time will award a price to the best art critic during the year.

Christian Chambert
President of Swedish AICA

The Role of Art and Criticism in War and Peace

AICA hosted a round table on June 25 in the Skenderija Centre with the theme: ”The Role of Art and Criticism in War and Peace”. The list of panelists included: Moderator: Christian Chambert. Panelists: Dunja Blazevic, Director of Soros Center for Contemporary Arts, Sarajevo, Meliha Husedzinovic, President AICA Bosnia-Herzegovina and curator at the Museum of Modern Art in Bosnia-Herzegovina, Miran Mohar, member of the IRWIN group, Ljubljana and Igor Zabel, curator at Moderna Galerija Ljubljana, coordinator of Manifesta III.

The Role of Art and Criticism in War and Peace Sarajevo, June 25, 1999.

AICA has started a series of programs with the aim to make art criticism more visible and to provoke a discussion about the new situation in the visual arts. The first of these activities was the round table linked to the opening days of Manifesta II in Luxembourg at the end of June 1998. During these days Enver Hadziomerspahic, General Director of the ARS AEVI Project contacted Kim Levin, international AICA President, and invited AICA to arrange a round table in connection with the opening of the exhibition with the collection, donated by the artists, for the future Museum of Contemporary Art in Sarajevo. The press opening of the exhibition took place on June 24, 1999, and the official opening with the Director General of UNESCO Federico Mayor on June 25. (See my review of the exhibition in NU: The Nordic Art Review, No. 2 1999) Among the specially invited participants in the seminars arranged by ARS AEVI I want to mention: Zdenka Badovinec, Bruno Cora, Izeta Gradjevic, Lorand Hegyi, Kim Levin, Henry Meyric Hughes, Catherine Millet, Edo Numankadic and Renzo Piano.

AICA hosted a round table on June 25 in the Skenderija Centre with the theme: ”The Role of Art and Criticism in War and Peace”. The list of panelists included: Moderator: Christian Chambert. Panelists: Dunja Blazevic, Director of Soros Center for Contemporary Arts, Sarajevo, Meliha Husedzinovic, President AICA Bosnia-Herzegovina and curator at the Museum of Modern Art in Bosnia-Herzegovina, Miran Mohar, member of the IRWIN group, Ljubljana and Igor Zabel, curator at Moderna Galerija Ljubljana, coordinator of Manifesta III. As Vice President for Special Projects and Publications, I have coordinated the planning of the round table together with Kim. Ingamaj Beck and Jan Håfström, Swedish AICA members, and Dunja Blazevic helped us to put up the short list of panelists. I established constructive contacts with the organisers of the ARS AEVI exhibition, Enver Hadziomerspahic, Corinne Voss, International relations ARS AEVI project and Aida Ceric, ARS AEVI program coordinator. I obtained funding from The Swedish Institute enabling my participation in the round table. The discussion, which was taped, was open to the public, with no entrance fee.

Miran contributed to the history of the ARS AEVI collection. Dunja told us about the work during the siege to present the art which was created in Sarajevo to the outside peaceful world and to make people in other countries sensitive to what was going on. She also mentioned the founding of the new section of AICA in Bosnia-Herzegovina and its importance for the cultural life during difficult years. Meliha informed us that the Museum of Modern Art was damaged by 46 grenades during the war and had been reconstructed. The museum and the Soros centre support the young generation. Two good examples of these activities are the exhibitions ”Maxumim” and ”Minimum”, which opened at the same time as the ARS AEVI project. Among matters discussed were the future of the ARS AEVI collection, including works by more than 100 distinguished contemporary artists from all over the world, how to attract the local audience, how to build up an infrastructure of professionals and enthusiasts to take care of the future museum etc. The discussion among the panelists and in the audience was lively and intellectually stimulating.

Kim and I have in a positive way been discussing with Igor Zabel the possibility to arrange an AICA round table during the opening days of Manifesta III in Ljubljana at the end of June 2000.

Christian Chambert,

President Swedish AICA.

THE NEW EUROPE – a Cluster of Peripheries?

AICA is starting a series of programs with the aim to make art criticism more visible and to provoke discussion about the new situation in the visual arts. The first of these programs was the round table The New Europe. A Cluster of Peripheries?, hosted by AICA on Sunday June 28, in one of the rooms in the Cercle municipal, Place d´Armes at Manifesta 2 in Luxembourg.

THE NEW EUROPE –
a Cluster of Peripheries?
LUXEMBOURG
JUNE 28, 1998

AICA is starting a series of programs with the aim to make art criticism more visible and to provoke discussion about the new situation in the visual arts. In order to provide an intellectual presence and a forum at important international exhibitions, the organisation has begun to organise panel discussions and workshops, which will take place where many artists and art critics come together.

The first of these programs was the round table The New Europe. A Cluster of Peripheries?, hosted by AICA on Sunday June 28, in one of the rooms in the Cercle municipal, Place d´Armes at Manifesta 2 in Luxembourg. The discussion was held in English and was open to the public, with no entrance fee. About 100 people attended the meeting, which was taped.

A generous grant from the Open Society Institute Art and Culture Network Program in New York made it possible to invite four panelists from Central and Eastern European countries with a special in-depth insight into what´s going on in these countries. Without the economic support of the Open Society, it would not have been possible to arrange this round table.

As Vice President for Special Projects and Publications I initiated the idea to arrange a round table and the program was planned and executed in collaboration with Kim Levin, international AICA President and Ramon Tio Bellido, General Secretary of AICA, Katy Deepwell, President of British AICA and John Peter Nilsson, Vice president of Swedish AICA. Board members of the Swedish section contributed considerably to the process of selecting the panelists. Karsten Thurfjell found the apposite title for the event during the brainstorm at the board meeting of the Swedish AICA. I established constructive contacts with the organisers of Manifesta 2: Enrico Lunghi, Coordinator, Annette Mullinck, International Relations Executive and Laure Fabre, Press Officer; as well as with Maria Lind, one of the three curators of the event.

Moderator: Daniel Birnbaum, Stockholm, Ph.D. in philosophy, new Director of IASPIS (International Artists’ Studio Program in Sweden), contributor to Dagens Nyheter, Artforum, frieze. Panelists: Antje von Grævenitz, Amsterdam, Cologne, Kestutis Kuizinas, Vilnius, Suzana Milevska, Bitola, Bojana Pejic, Berlin, Nebosja Seric-Soba, Sarajevo, Aneta Szylak, Gdansk.

Antje von Grævenitz said that art is not related to frontiers. It will not in the future be created by European borders. Art is a medium for communication and as such it crosses borderlines all the time in the form of letters, faxes, phone-calls, e-mails, books, films, videos, television-films, the Internet etc.

Aneta Szylak talked about the peripheries of peripheries, being a director of the Bathhouse in Gdansk. Her institution is at the margin of the Polish art scene, but on the other hand the Bathhouse is deeply involved in the activities in the Baltic Sea region.

Nebosja Seric-Soba, one of the artists participating in Manifesta 2, asked ”Where are the peripheries of art?” He said that one of the most important things in the discussion is to arrive at a ”freedom of thinking”.

Suzana Milevska related the story about the prince, the Western curator, who was looking for Cinderella. Many Eastern artists wanted to be Cinderella. Milevska told us that in Skopje there is a dream to be the host city of a future Manifesta. But it depends on the prince. Within the former Yugoslavia Macedonia was the periphery of the peripheries. Milevska said that instead of having the feeling of being marginalised and outsmarted, you should think of your own country as the centre.

Daniel Birnbaum asked if the peripheries should look at each other. Do we need centres, places where you can be understood and evaluated?

According to Joseph Backstein, Moscow, in the era of Internet, the concepts of ’center’ and ’periphery’ do not exist any longer.

Birnbaum continued saying that for him the poets Gunnar Ekelöf and Thomas Tranströmer, writing in his own mother tongue Swedish, were greater than e.g. Wallace Stevens. He asked the auditorium, if it is the same with artists as with writers, that they only can be immensely great in their own local situation?

Christian Chambert asked if an event, which is restricted only to European art, will make any sense within, let us say, ten years in a world open to the global perspective. Bojana Pejic opposed and answered the question with: ”Yes”.

Anda Rottenberg, Warsaw, said that Manifesta was a pan-European event, conceived four years ago. The idea at the beginning was to have an Eastern European curator, when Manifesta was in the West and vice versa. Why did this brilliant idea fall down.

The discussion among the panelists and in the audience was lively and intellectually stimulating. The round table has been considered a great success. After the meeting AICA got a lot of proposals from different countries to arrange or co-arrange future panel discussions.

AICA is in the preliminary phase of the planning of a round table during the opening days of the exhibition of the collection of the future Museum of Contemporary Art in Sarajevo in the Skenderija Center in Sarajevo at the end of June. Furthermore AICA is considering the possibility to arrange a panel discussion during the opening days of the Venice biennial.

Christian Chambert,

President AICA Sweden.

TRANSLATING CULTURES

On June 7, 1998, the Swedish section of AICA and Edsvik konst & kultur hosted a seminar, Translating Cultures, at the castle of Edsvik on the outskirts of Stockholm in connection with the Medialization exhibition, curated by Joseph Backstein and the BRUS exhibition with works by students at the Royal University of Fine Arts (Konsthögskolan) in Stockholm, curated by Tom Sandqvist

TRANSLATING CULTURES

STOCKHOLM
JUNE 7, 1998

On June 7, 1998, the Swedish section of AICA and Edsvik konst & kultur hosted a seminar, Translating Cultures, at the castle of Edsvik on the outskirts of Stockholm in connection with the Medialization exhibition, curated by Joseph Backstein and the BRUS exhibition with works by students at the Royal University of Fine Arts (Konsthögskolan) in Stockholm, curated by Tom Sandqvist. The seminar was co-arranged by the Swedish Broadcasting Company, the Arts Department, and by Partnership for Culture, initiated by the Swedish Ministry for Foreign Affairs in close co-operation with the Ministry of Culture and the Swedish Institute, project manager Mika Larsson. The first step in this long-term governmental project was Shaking Hands & Making Conflicts, April 23 – 26, 1998, at Färgfabriken in Stockholm. The seminar at Edsvik has been recorded.

Moderator: Karsten Thurfjell, Stockholm, critic at the Swedish Broadcasting Company and board member of the Swedish AICA. Panelists: Joseph Backstein, Moscow, Disa Håstad, Stockholm, journalist at Dagens Nyheter and Margareta Tillberg, Stockholm, slavist, art historian and art critic. All the artists in the two exhibitions were invited as well as the public. Among the participants in the lively discussion can be mentioned the artists: Alexander Brener, Vienna, Caraggio, Olga Chernysheva, Moscow, Amsterdam, Christiane Dellbrügge, Berlin, Lev Evzovitch, AES, Kendell Geers, Johannesburg, Jårg Geismar, Dusseldorf, Róza El-Hassan, Budapest, Ralf de Moll, Berlin, Nedko Solakov, Sofia, Maciej Toporowicz, Poland, New York and Borut Vogelnik, IRWIN and further: Maria Fridh, Stockholm, Director of Edsvik konst & kultur, Sirje Helme, Director of Soros Center for Contemporary Art, Tallinn, Ando Keskküla, Rector at the Estonian Academy of Arts, Tallinn, Magnus af Petersens, Riksutställningar, Stockholm and Christian Chambert.

To start the discussion Irina Sandomirskaja, linguist from Moscow currently working in Stockholm had been invited to write ”The Fourth Power”: Mediating Between Global Interests and Local Myths. At the workshops during the lunch break we discussed, in connection to the text, questions as: ”Are the media the universal language of post modernity?”, ”What is the relationship between the globalized mass-cultural mainstream as represented in the media and the local knowledge concentrated in cultural traditions?” and ”Intervention of the media and the right to privacy.” Ralf de Moll didn’t want to talk about privacy any more. He felt it is an outdated moral attitude in a media time, when the outside comes inside.

Questions raised during the discussion in the auditorium were e.g.: What does the sudden medialization of Eastern Europe mean? and: What is a radical standpoint for an artist today in a medialized community? From a South African position Kendell Geers said that we, the artists, are always there, even if the media do not cover the artists’ work.

What is the changed role of the museum in the age of the new media? The site specific remarks, like many of the pieces in the Medialization exhibition, are influenced by the media and they are not done for the museums.

Karsten Thurfjell made a distinction between an art critic writing for the art pages and the news journalist writing for news media with a news angle. The approach is quite different. In the latter case the art work becomes the media coverage itself and the artist becomes an icon.

Many of the speakers commented on the ”scandalous” activities of Alexander Brener and Oleg Kulik at the Interpol show at Färgfabriken, Stockholm, some years ago, which is a very good example of an exhibition immediately being medialized, with reactions going on all through the art world for months after, in a way and to an extent, which was not possible with the so called scandals in the radical 1960s.

As a background to the two exhibitions and the seminar, Edsvik konst & kultur had commissioned some theoretical texts, which are available on the Internet, www.edsvikart.com Joseph Backstein The Fine Arts and the Phenomenon of Medialization, Boris Groys Media in the Museum/The Museum as Medium, Tom Sandqvist When the Ketchup Bottle Is Re-Presented: Art and Medialization and Michael Yampolsky Between the Immediate and the Mediated.

During the autumn of 1998, the Medialization exhibition has been shown in The Art Museum of Estonia in Tallinn. As a part of the Partnership for Culture project a seminar was organised on November 22 – 23, 1998, in Tallinn Action – Reflection Conference on Art, Culture and Social Action Strategies in New Mediaspace, with special emphasis on artists and critics particularly from the Baltic Sea countries, together with Belarus and the Ukraine. Organisers were Sirje Helme and Ando Keskküla.

Christian Chambert,

President AICA Sweden.

ART MAGAZINES – Can You Trust them?

A biennial for cultural magazines took place in Stockholm May 7 – May 10, 1998, as a part of Stockholm as Cultural Capital of Europe 1998. During the biennial the Swedish AICA, in co-arrangement with Siksi, hosted a discussion with the title Art Magazines. Can You Trust Them?, which took place on May 8, in the auditorium of the Museum of Modern Art (Moderna Museet) in Stockholm.

ART MAGAZINES –
Can You Trust them?

STOCKHOLM
MAY 8, 1998

What is a good art magazine, what does it represent? The supply of art in the world has increased drastically. The globalisation and the medialization make us aware of what is going on on the international scene. How do the art magazines relate to this new situation? How develop new forms of publication, such as video and Internet magazines?

A biennial for cultural magazines took place in Stockholm, May 7 – May 10, 1998, as a part of Stockholm as Cultural Capital of Europe 1998. During the biennial the Swedish AICA, in co-arrangement with Siksi, hosted a discussion with the title Art Magazines. Can You Trust Them?, which took place on May 8, in the auditorium of the Museum of Modern Art (Moderna Museet) in Stockholm. The panel discussion was held in English and open for free to the public. The arrangement got financial support from the Swedish National Council for Culture. Editors of international as well as Scandinavian art magazines were invited to the panel.

Moderator: Joshua Decter, New York, contributor to Artforum, Siksi, Flash Art. Panelists: Sara Arrhenius, Stockholm, Index, art critic at Aftonbladet, Sarah Greenberg, London, The Art Newspaper, Helena Kontova, Milan, Flash Art, John Peter Nilsson, Stockholm, Siksi, Matthew Slotover, London, frieze. Further we invited editors of Swedish art magazines to take part in the discussion from the auditorium. Among the participants in the discussion were: Ximena Narea, Heterogénesis, Marie Johansson, S.cr.a.m., Anders Engman, Konsttidningen and Christian Chambert.

One of the questions during the afternoon was: What is the relation between advertisements and the editorial material ­ are there any secret agendas? Can you trust the magazine, when you realise that to a decisive extent it is supported financially by advertisers? Are art magazines, e.g. in the Nordic countries, which get substantial governmental funding, more trustworthy than magazines based on advertising and on subscriptions and on sale of single copies? Helena Kontova said that trust is a pathetic word, a little outdated. Sara Arrhenius continued by saying that identity is a very important aspect of trust in a magazine and Matthew Slotover talked about trusting somebody’s sensibility.

Joshua Decter took up the relation between the local and the international. How maintain the fine balance between subjective or individual sensibility, but also appeal to a broader readership in various countries? In the Nordic countries, as in many other regions in the world, writing for an international art magazine is a language problem. Many art magazines use post-colonial English as a language of communication. Index is bilingual, Swedish, English. Helena Kontova talked about the different editions of Flash Art. Ximena Narea told us about her magazine, Heterogénesis, which is bilingual, Spanish, Swedish.

John Peter Nilsson said that it is important, in our dense media climate, to support good, strong art writers and let them grow: ”Pay for articles not published.” Let a good writer shine through. A part of Nilsson’s credo as an editor is that an art magazine should take part in the formulating of a new vision of the globe and I think that we all agreed when he added: ”A good magazine should have a soul.”

Christian Chambert,

President AICA Sweden.

HISTORY. MEMORY. OBLIVION.

On September 6, 1997 a seminar was held in the old castle of Uppsala with the title History. Memory. Oblivion. linked to the Monumental Propaganda and Stilla flyter Fyrisån (And Quiet Flows the Fyrisån) exhibitions, which were shown at the Art Museum. The seminar was co-arranged by Svenska Konstkritikersamfundet (the Swedish AICA-section) and Uppsala Konstmuseum (Uppsala Art Museum)

HISTORY. MEMORY. OBLIVION.

UPPSALA
SEPTEMBER 6, 1997.

On September 6, 1997 the burial of Princess Diana, ”England´s Rose”, was televised all over the world with a boundless sea of floral tributes, temporary monuments to a beloved person, ”The People´s Princess”. Perhaps it its better to go to the florist, when you are mourning, than to erect eternal monuments in bronze or marble.

By chance a seminar was held the same day in the old castle of Uppsala with the title History. Memory. Oblivion. linked to the Monumental Propaganda and Stilla flyter Fyrisån (And Quiet Flows the Fyrisån) exhibitions, which were shown at the Art Museum. The seminar was co-arranged by Svenska Konstkritikersamfundet (the Swedish AICA-section) and Uppsala Konstmuseum (Uppsala Art Museum) and was made possible with financial support from Svenska Institutet (The Swedish Institute), Statens kulturråd (The Swedish National Council for Cultural Affairs) and IASPIS (International Artists´ Studio Program in Sweden). The auditorium was crowded with people from Sweden and other Nordic countries. Artists, art critics, art historians, aestheticians, Slavists, museum people, specialists in the field of public art and the public of the museum were invited. The organizers will publish the texts from the meeting on the Internet.

Vitaly Komar and Alexander Melamid, responsible for Monumental Propaganda, helped us to start a serious discussion on the Socialist-realistic monuments from the Soviet Union. They show how ideals of the past we no longer wish to acknowledge can be turned into history lessons. 113 artists from Europe, Russia and United States participated in the show.

It is said that the Grand Narratives have disappeared in Western aesthetics. Utopian modernism cracked and many of the Soviet Union sculptures were pulled down after 1989. But who will take the decisions about future public art – the commissioner, the artist or the public? What does it represent in a period of new myths, which we can find every day in the mass media and in the new technology? What people do we want to commemorate? Or are we living in an era with no room for eternal monuments?

In Sweden the discussion until now has been very limited. A feeling has been in the air that artists will lose their jobs if public art is too much debated. Furthermore criticism in Western societies in front of public art has often been charged with shame and regarded as a protest against the democratic process itself, which takes care of the creation of the object. But the Estonia memorial by Miroslaw Balka at Djurgården in Stockholm has been much discussed. The first design by the artist had to be changed because of different kinds of protests. The final version was inaugurated on September 28th, three years after the disaster. One of the problems was the listing of names of people who disappeared in the sea. Perhaps, after the installations and sculptures commemorating those who died of AIDS, we are today more open to engraving in public sculptures the names of people who have perished. The Estonia memorial will tell us about the fragility of life in our society. A positive step forward is also that Balka is a foreigner. He won the competition for the memorial among a group of invited artists from different countries. Regionalism and nationalism in the field of public art has been very strong in Sweden for a long time.

Annika Öhrner (Stockholm and Gothenburg) lectured about ”A Memorial in the 1990s – Miroslaw Balka´s Memorial for the Victims of the M/S Estonia Disaster”, Vitaly Komar (USA since 1977) talked about ”Monumental Propaganda”, assisted during the panel discussion by Alexander Melamid (USA since 1977), Joseph Kosuth (New York and Ghent) told us about ”Correspondence Across a Room”, Olesya Turkina (St. Petersburg) about ”Post-Totalitarian Art as a Mnemonic-Technique: Recollections Rising – 2”, Joseph Backstein (Moscow) about ”The Privatization of History” and Gunilla Bandolin (Stockholm and Malmö) about ”Colonizing the Past. History as Monument”. The discussion rich on ideas which followed was moderated by Ulrika Knutson (Uppsala). Sara Arrhenius (Stockholm), Olga Chernysheva (Moscow and Amsterdam), Vadim Fishkin (Moscow and Ljubljana) and Lars Kleberg (Stockholm) participated in the panel.

The exhibition and the seminar started a still ongoing debate in the Swedish mass media about our dreams concerning monumentality, old and future monuments and about History, Memory and Oblivion.

But for me the place in the centre of Stockholm, where Olof Palme was shot down in the open street on February 28th, 1986 with all the flowers on the ground, is more impressive than many eternal monuments. We showed our deep emotions over what had happened. Sweden suddenly became a part of the world. Among other things it told us that we are all mortal. Also the most beautiful red roses will fade away and be a part of the cycle of nature.

Christian Chambert,

President AICA Sweden.

Strategies for Survival Now

”Strategies for Survival – Now!” is a selection of 32 original writings submitted at the IAAC Congress in Stockholm and Malmö September 22 – October 1, 1994, including key note addresses, reports from the workshops and papers of the delegates, most of them revised after the event. The book covers a wide scope of attitudes to the theme of the Swedish Congress. It includes texts from all continents, from east and west, from south and north.

STRATEGIES FOR SURVIVAL – NOW! STOCKHOLM, 1995.

IAAC has over recent years increasingly oriented itself towards the reality of today in different parts of the world. The edition ”Strategies for Survival – Now!” will, we believe, reveal that this subject is not just a private concern. As the theme of last year´s Congress met with such great enthusiasm both inside and outside our organization, the Swedish section of IAAC felt that it could be of much interest to publish a book, which should be for sale to non-IAAC members as well. Thus after considering different editorial possibilities it was decided by the General Meeting of the section to publish a book for the commercial market instead of a strict documentation for internal use, which has been done after some previous congresses. The anthology was presented by the editor and the co-editors John Peter Nilsson and Karsten Thurfjell at the General Assembly on September 28 in Macao.

Before the Congress in Sweden the section published a small book on current art in our country, ”Swedish Samples”, written by five art critics. ”Strategies for Survival – Now!” is our second edition related to the Congress. It is true that the publishing and the sale of theoretical books in connection to the IAAC congresses will strengthen the credibility of our organization.

”Strategies for Survival – Now!” is a selection of 32 original writings submitted at the IAAC Congress in Stockholm and Malmö September 22 – October 1, 1994, including key note addresses, reports from the workshops and papers of the delegates, most of them revised after the event. The book covers a wide scope of attitudes to the theme of the Swedish Congress. It includes texts from all continents, from east and west, from south and north. Some of the essays are written by very famous art critics, authors and artists; other contributions are formulated by young pathfinders. But we refused a couple of texts, which did not keep to the announced theme. Some of them were too monographic, others did not refer to the survival situation ”Now!”

”Strategies for Survival – Now!” focuses on art in relation to economic and ecological chaos and is an important document for the understanding of similarities and differences in our global village. The anthology handles topics such as power, race and culture, questions of identity and nationality and the increasing influence of the mass media. Further, keywords like mainstream, diaspora, the other, ethnicity and multiculturalism, nomadism and multiple identity are on the agenda.

The book is divided into three main chapters:

Breakdown of Artistic Systems: Julia Kristeva, Ole Bouman, Audun Eckhoff, Mark Kremer, Ilya Kabakov. Halina Taborska, Katalin Keserü, Ants Juske, Akbar A. Khakimov and Alexander Yakimovich.

Ethnicity: Gerardo Mosquera, Ina Blom, Kaija Kaitavuori, Neery Melkonian, Ery Cámara, C. Joseph Adande, M.A. Greenstein, Kim Levin, Corinne Robins, Jimmie Durham, Annette van den Bosch and Akiko Tsukamoto.

Body: Apinan Poshyananda, Hilary Pyle Carey, Liam Kelly and Marlies Levels. A fourth part of the anthology includes Congress talk, reports from the workshop groups – an activity which turned out a great success – written by: Thomas McEvilley, Alicia Haber, Grace C. Stanislaus, Ery Cámara, Helena Demakova, Zelimir Koscevic and Apinan Poshyananda. In addition the book provides an introductory essay by Christian Chambert.

Christian Chambert,

President Swedish AICA.