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A NORDIC LIGHT
Giancarlo Politi
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| Flash Art n.283 March – April 2012 A SURVEY ON ART IN THE NORDIC COUNTRIES
INSTITUTIONS 1) Compared to Europe, what are the characteristics of visual art in the Nordic countries? Is there a “Nordic art” we can speak of? If so, what are some of its characteristics?
2) Has the current economic crisis influenced the production of young artists from the country where you are based, whether it is Denmark, Finland, Iceland, Sweden or Norway? Has it influenced the activity of museums and institutions? | | | | 
| John Peter Nilsson Director, Moderna Museet, Malmö, Sweden 1) In the last ten years things have changed regarding the regional differences in Europe. I don’t see any specific “Nordic” interest in nature or politics anymore. The region is rather incorporated in today’s issues and the effects of globalization — from criticizing economic differences to analyzing the production of value and meaning. I have, however, noticed a certain point of view developing, one that is honest and subjective. 2) Being an artist and trying to survive economically is a tough task. In Sweden, there are fewer young artists being picked up by galleries. | | | | | | | | 
| Pirkko Siitari Director, Kiasma, Helsinki 1) Visual arts, as well as many other art forms from the Nordic countries, have for a long time been labeled by their connections to nature, to the Nordic light or as expressions of melancholy. Contemporary Finnish photography has recently been known internationally under the label of “The Helsinki School.” In my opinion these kinds of generalizations tell us more about conscious brand making than about certain common stylistic characteristics. 2) The global economic crisis influences all sectors of society. Most artists are always in the middle of an economic crisis, so maybe they don’t see any dramatic change in their living conditions. However, it is clear that to survive as an artist is even harder during these times. Public cultural institutions are quite often the first in line when budget cuts are planned. For instance, some of the art schools in Finland have experienced cuts or they have been shut down. | | | | | | | | 
| Markku Valkonen Director, Espoo Museum of Modern Art Espoo, Finland 1) It is certainly a long time ago that we could speak about Nordic characteristics in art. In the 19th century there was “Nordic light” to be found in painting and poetry. Today, these particular atmospheric conditions aren’t focused on. If there is anything that could be considered a point of difference compared to the rest of Europe, it might be a kind of detached coolness and avoidance of extremities. I am sure many would disagree. 2) There are no statistics as such, but sales by young artists seem to be on the decline. I am afraid we will notice the present economic crisis affecting artists in the future. So far, my institution has not reduced its program. In the city of Espoo funds are stable. EMMA seems to be an exception in Finland. | | | | | | | | 
| Diana Baldon and Helena Holmberg Director and Curator, Index – The Swedish Contemporary Art Foundation, Stockholm 1) The accepted cliché about art from “the Nordic region” is that it tends to emphasize formalist abstraction and design principles in the sense of geometric modernist aesthetics, a romantic sense of nature and light and a strong engagement towards the social dimension of art. From an institutional viewpoint, Swedish public funding has stimulated the birth of “artistic research.” Independent, not-for-profit institutions such as Index have become increasingly important for promoting project- and research-based art practices that are focused more on theoretical and political content. 2) Unlike other European countries, the economic crisis hasn’t had a major impact on Swedish institutions so far. However, a debate around cultural policies has intensified in the last few years. Politicians present the policies as “reforms” while in reality they are expressing a desire to dismantle the structures that were set in place by past social-democratic governments in an effort to bridge the gap between culture and the people. Recently, small and medium-sized institutions have been required to find funding through other routes such as European grants or private sponsorship. The problem is that the general mentality of the private sector is not yet ready for this sudden shift in direction. | | | | | | | | 
| David Neuman Director, Magasin 3 Stockholm Konsthall 1) I honestly don’t think there are any identifiable differences between art here and in the rest of Europe or the US. Sweden is a nation that has not been involved in any violent conflicts for over 200 years, which has very likely created a platform for a flourishing creative scene. Paradoxically, however, such a high level of material comfort may have resulted in a lack of edginess in some of the contemporary movements. We still have artists working with the theme of “Nordic light”… 2) Sweden hasn’t been hit by any major changes based on the economical crisis. The Swedes still think they are one of the richest nations in the world, which we are not. The traditional cultural institutions are primarily experiencing an intellectual crisis — most of them stopped believing in the art they are exhibiting or the collections they built. They think that social media will create the interest, and not the content! The hard-working art institutions are doing a great job, and the art scene in Stockholm is vibrant and extraordinary. | | | | | | | | 
| Stine Høholt Chief Curator, Arken Museum of Modern Art, Ishøj, Denmark 1) The idea of some kind of Nordic brotherhood is a political fiction. If a Danish artist knows an artist from Norway, they probably met in Berlin. And the concept of “Nordic-ness” was probably a nostalgic vision even before immigration kicked into gear in the Nordic countries in the ’60s. Having said that, some artists do perform a kind of melancholic mapping of the “Nordic” identity, such as A K Dolven, Olafur Eliasson, Per Bak Jensen, Aino Kannisto, Martti Jämsä, Torbjørn Rødland, Kirsten Klein and Annica Karlsson Rixon. Also, the modern welfare state is a common context for some Nordic artists: a matrix for subjectivity, a setting, a place of social changes and institutionalization. In 2006 the Danish/Norwegian duo Elmgreen & Dragset did an exhibition at the Serpentine Gallery entitled “The Welfare Show.” Finally, I would mention the figurative, colorful, narrative and almost anti-depressive painters like Kathrine Ærtebjerg, Tal R and John Kørner, who reveal a new approach to painting as they cultivate banality, childish fantasy and superficiality. 2) Before the economic crisis, young artists were getting their first solo show at a gallery and an exhibition in a museum before they even graduated from the Royal Academy of Fine Arts. This is no longer the case. As others have pointed out, this could turn out to be quite healthy for our art scene. The crisis has put pressure on the commercial galleries, and some have had to close — especially those that relied on “lifestyle” collectors who collect cultural capital, not art. In Denmark the museums and institutions have been influenced by the crisis. External funding has become much more necessary. The small museums are especially facing a hard time. | | | | | | | | 
| Mark Sladen Director, Kunsthal Charlottenborg, Copenhagen 1) The “Nordic Miracle” of the ’90s — which saw the emergence of a strong network of artists in the region — feels like a long time ago. And today (as in the ’90s) I think most of the ambitious artists in the Nordic region would prefer to see themselves as part of a bigger international conversation. But in the institutional field it is more useful to emphasize these Nordic links — there are good precedents for institutional collaborations across the region, and this could be a good way to strengthen our organizations in these tough economic times. 2) The economic crisis has definitely affected the art scene in Denmark. State funding for the arts is tighter than in recent years, and charitable funding for the arts is down as well. Although one of the advantages of working in Denmark — and in the Nordic region in general — is that there is still a strong social consensus about the importance of public support for the arts. However, institutions such as my own have to work harder to get funds and to justify what they do. | | | | | | | | 
| Dag Aak Sveinar Director, Punkt Ø, Galleri F15 and Momentum, Moss, Norway 1) The fact that there are certain distinctive features that are specifically Nordic is self-evident. But for us, who live and breathe the Nordic air, it is difficult to put into words what we mean by “Nordic.” Some of the art critics who have visited the Momentum Biennial feel that they have pinned down a Nordic art piece among the many others if it looks or feels closely related to nature, with lurking angst and melancholia. In my opinion a search for the Nordic soul in Nordic art can be found in Christian Norberg-Schulz’s Nightlands: Nordic Building (MIT Press, Cambridge, Mass., 1997). 2) Not so much in Norway, but definitely in the other Nordic countries. In Denmark a lot of the infrastructure supporting the arts was lost when the conservative government took over in 2001. The economic disaster in Iceland has involved us all. | | | | | | | | 
| Poul Erik Tøjner Director, Louisiana Museum of Modern Art, Humlebæk, Denmark 1) Historically, a Nordic art certainly exists. We also tend to think that there is a relation between the genesis of the modern Scandinavian society and the values and visual arts produced here, but this is rather hard to pinpoint in a time that is also increasingly marked by an international outlook and globalization. Some would even say that what is particularly Nordic is the ability to let the best of the outside world seep into what we do; without compromise, that is fundamentally a direct relation to the great differences between the seasons, the dependence on nature and the people around us. Nordic societies are democratic to the core; otherwise they would never have existed in the first place. This summer at the museum we will launch an exhibition about Nordic architecture — the very latest in architecture — and we have had really interesting discussions just getting to the point where we dare to say that something is actually going on that isn’t happening anywhere else. 2) The financial crisis of the last few years has unquestionably influenced not only the market but also the actual output from artists. This can be a good thing; if artists didn’t register such extensive shifts with such profound significance for millions of people in the real world, all the accusations of ivory towers and detachment from the world would be confirmed. The worst hotheads have been weeded out, perhaps. I think a lot of good has come out of the upheavals we have been through, including the institutions making up their minds a bit about what our function is. But it hasn’t become easier, to put it mildly, to run a museum, if you look at the potential for getting funding from the private sector, foundations, etc. | | | | | | | | 
| Marie Nipper Chief Curator, ARoS Aarhus Kunstmuseum, Denmark 1) In my opinion it would be wrong to characterize Nordic art as something unconnected to the general tendencies in the international art world. But of course you can talk about some apparent Nordic associations in works by artists such as Olafur Eliasson, Jeppe Hein and Elmgreen & Dragset. 2) That’s hard to say at this point. We might need a few more years before we really see if the economic crises will have a real influence on the visual arts in terms of creating new modes of expression. But I do think that we have seen an effect already in an increased focus on collaboration and on strengthening the artistic community in Denmark. I actually feel that the economic recession has had a positive influence. | | | | | | | | .jpg)
| Solveig Øvstebø Director, Bergen Kunsthall, Norway 1) This notion is somewhat inherited from the ’90s. At that point it made more sense to talk about a set of shared characteristics of what was happening — institutional consciousness and the relationship to the postmodernism, combined with an international awakening. Today the situation is much more complex and diverse. I think it makes little sense to isolate the Nordic art scene from the European, simply because those borders do not exist. Having said that, it would be blunt to ignore the privileged situation that the Nordic countries find themselves in. The welfare system creates funding opportunities that can hardly be compared. On the downside this might lead to lazy self-sufficiency, but when exploited in the best sense, this common platform of artistic possibilities creates dialogue and valuable collaboration. It makes more sense to talk about this common (political and social) ground instead. 2) It would be quite misleading to state that Norway has been struck by a financial crisis. One might say, though, that there are signs of nervousness or general insecurity about the financial situation in Europe. Questions like “When and how will it reach us?” are constantly addressed by the media. As Norwegian cultural institutions are mostly publicly funded, the way they get affected by this is mainly by the fact that it is harder to get sponsors. | | | | | | | | GALLERIES 1) What is it like running a gallery in your country? Do you have enough local collectors or is there a need to network abroad and take part in art fairs? 2) Do you feel the economic crisis in your country? If so, how do you deal with it? | | | | | | | 
| Eivind Furnesvik Standard (Oslo), Oslo 1) I only know what it entails to have a gallery in Oslo, Norway, and would not have one there if it didn’t make sense. We’re fortunate to have the support of a few local collectors, but we always want to be in dialogue with a bigger audience. Art fairs and traveling to see our artists and clients elsewhere are therefore needed. 2) I hardly think any part of industry or commerce will not have been affected by what was essentially a global financial crisis in 2008. Norway is of course blessed with a mixed economy where the large number of people employed by the public sector and the petroleum wealth of the government provide a sense of stability. However, one learns a lot from such challenges, and I’m glad to say that both the gallery and the artists kept moving forward during the year that consequences were felt. | | | | | | | | 
| Rodrigo Mallea Lira Fruit and Flower Deli, Stockholm 1) Nordic collectors, with a few exceptions, resemble the classic bourgeoisie collector who tend to collect as much as they can fit in their homes, regardless of their wealth. Therefore it is rare that one single collector comes in and buys an entire show; a show can sell out, but in general to several collectors. So, the Nordic culture of collecting affects the running of a gallery, and taking part in fairs is an important way to cultivate other networks and to access an international market and large-scale contemporary collectors. 2) The crisis has not affected the gallery so far. Maybe it has to do with the artists we work with, but also we are a small-scale enterprise, so we don’t operate in the parts of the art system that are truly vulnerable in the crises we face now. And the situation in Sweden has been very stable. It could be that because the culture of collecting is less speculative in Sweden — as collectors buy in small quantities — the art market therefore is less vulnerable. Prices don’t have the same tendency to race like they do in the US, so it is less of a risk to buy art. | | | | | | | | .jpg)
| Ciléne Andréhn Andréhn-Schiptjenko, Stockholm 1) Sweden has a lively scene for contemporary art, and Stockholm has numerous galleries and institutions. However, we are a small country that was extremely poor only 100 years ago, and also one that was industrialized very late and very quickly with a focus on material growth, so there is hardly any tradition of supporting the arts. At Andréhn-Schiptjenko, from the outset we have worked at creating an international network by traveling and participating in art fairs. With the program we maintain it would not be possible for us to survive only on the local market. And intellectually and artistically, we need the input from abroad. 2) Generally speaking, Sweden has a good economy and has been less touched by the crisis than the US and some of the European countries. However, the crisis is global, and since we operate internationally of course we are affected by it. We deal with it the way we can; by cutting costs, employing a small staff, being very prudent with productions and negotiating with our suppliers. | | | | | | | | .jpg)
| Börkur Arnarson i8, Reykjavik 1) Given the extraordinarily small population of Iceland, we are fortunate to have a strong client base in the Americas and Europe, and also solid collaborative relationships with other galleries abroad. Most of our business is outside of Iceland. However, there is an important group of serious collectors here that we rely on for daily feedback and the local cultural context. Collectors visit us in Reykjavik, but we take part in five or six art fairs a year where we meet most of our clients — old and new. 2) We have been suffering less from Iceland’s economic crisis than might be expected, but then again, we also benefited less from the preceding boom years as well. The local contemporary art market is not only small, but very young, so unless people were already interested, they generally spent their newfound wealth elsewhere. It’s been interesting to see how relatively insulated the contemporary art market has been from general market forces on a global level. Our experience has been that collectors in all wealth brackets are not collecting speculatively but out of a real connection with the work and artists, so we have continued much the same as before. Actually, despite the drop in value of the króna against the dollar and euro, we have been producing more work and taking part in more shows and art fairs than before. | | | | | | | | 
| Kaj Forsblom Forsblom, Helsinki 1) We have a very active audience in Finland. For example, our gallery relocated in May 2011 to a new 850-square-meter site designed by Gluckman Mayner Architects from New York, where 500-600 people attend each of our ten annual openings. Regarding collectors, there are a few very serious ones from both the private and museum sectors. However, in order to cover the costs of expensive international exhibitions we also need to take part in art fairs. 2) The client’s decision-making can take more time, especially when it comes to more expensive pieces by foreign artists. Established and emerging Finnish art of good quality sells in much the same way as before the economic crisis. | | | | | | | | VISUAL ART AGENCIES 1) Could you tell us about the agency you direct? What is your role in international exhibitions such as the Venice Biennale, Documenta, Manifesta, etc.? How do you support artists from your country? 2) What is your annual budget? Do you benefit solely from government support or do you fundraise with private entities? | | | | | | | 
| Dorothée Kirch Director, Icelandic Art Center, Reykjavik 1) The Icelandic Art Center’s role is to introduce and support Icelandic visual arts abroad. The Center assists artists and art professionals in realizing projects through funding, networking and cooperation with public and private associations, organizations and enterprises. The Icelandic Art Center is the commissioning institution for the Icelandic Pavilion at the Venice Biennale. In regard to other important international exhibitions, the Icelandic Art Center works on building and strengthening its network in order to enable artists from Iceland to play an active part in the art world. 2) The Icelandic Art Center’s operating budget will be 140,000 euros per year for the next three years. Fifteen percent of this goes to grants for projects by artists from Iceland abroad. The rest roughly covers the center’s operating costs. The Icelandic pavilion at the Venice Biennial is partly funded by the Ministry of Culture, Education and Science with 124,000 euros. | | | | | | | | 
| Lisa Rosendahl Director, Iaspis, Stockholm 1) Iaspis is part of the Swedish Arts Grants Committee, which is a government agency. Iaspis was founded in 1996 as the Swedish Visual Arts Fund’s international program commissioned to support international exchange for practitioners in the areas of visual art, design, craft and architecture. This is done through direct economic support in the form of grants, a residency program for international and Swedish artists in Sweden as well as collaborations with residencies abroad. Our public programming includes talks, exhibitions, screenings and publications. Sweden-based artists who have been invited to participate in international exhibitions such as Documenta and Manifesta can apply to Iaspis for support, while Swedish participation in the Venice Biennale’s Nordic Pavilion is managed by the Moderna Museet. 2) Iaspis receives an annual budget of about two million euros. | | | | | | | | 
| Laura Köönikkä Former director, FRAME, Helsinki 1) I worked as the director of FRAME — Finnish Fund for Art Exchange — from 2010 to 2011.The main tasks of the organization are to support, find and enable international opportunities for Finnish artists, art professionals, galleries and museums. FRAME invites international curators and museum professionals to Finland, publishes a magazine, Framer, and organizes talks, among other things. FRAME has an active role in the Venice Biennale, organizing Finnish participation. The organization supports Finns who have been invited to take part in Documenta, Manifesta and other biennials. 5) The yearly budget is 1.3 million euros, allocated directly from the Ministry of Education and Culture. There are plans to raise this figure as the current budget can only cover a third of the applications. There is pressure to include private entities in the budget. The organization is going through a reformation and it will have a new foundation in 2012. | | | | | | | | | | | |
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