Late Summer’s healthy practices: put these three museums of Stockholm on your art agenda

Being one of the wealthiest cities in the world, it is unsurprising that Stockholm boosts an exciting cultural life. From thematic museums such as the Nobelmuseet or the Vasamuseet – the most visited museum in Scandinavia, consisting of a magnanimous ship that sank few minutes after casting off in 1628 –, via contemporary institutions like Magasin III and Fotografiska Museet, to refreshing project-spaces such Andquestionmark or När man står på ett ben och lutar sig så här. Among this vast realm of choices, three institutions deserve a special mention, as they seem to be driving the city’s upcoming art season, adding some substantial elements to the international cultural debate.

 

The Moderna Museet, located on the central Skeppsholmen island, holds one of the most interesting collections of Modern and Contemporary art in the world, and perhaps the single most comprehensive assemblage of Marcel Duchamp’s art. Among the permanent collection, one can find two of his eponymous La mariée mise à nu par ses célibataires, même (copies executed in the 1960s and the 1990s) as well as Sturtevant’s versions of his works; twin pieces that are often displayed at the same time – though in different spaces – evoking a sense of déjà vu that is utterly Duchampian. Some of the rooms are dedicated to single presentations, by Swede mavericks like Hilma af Klint (1862 – 1944), Öyvind Fahlström (1928 – 1976) and Moki Cherry (1943 – 2009). Others showcase groupings of artists, establishing affinities between practitioners with similar interests and styles. One highlight is a room featuring Conceptual art, containing some of On Kawara’s date paintings alongside postcards he sent to Pontus Hultén – Moderna’s legendary first director – in 1972. The display of the collection is constantly being reshaped, and in the following months they’ll devote rooms to the photographic archive of Asger Jorn (one of COBRA’s greatest artists) and Georg Baselitz. In addition to these free-admission exhibitions, they present one blockbuster show per season: currently is Yayoi Kusama, next will be German artist Thomas Schütte. What makes the place so special is the capacity director Daniel Birnbaum – who’s been ahead of the institution since 2010 and just had his contract renewed for three more years – and his team have of creating involving, non-obvious narratives: even a grand collection can seem dull if the storytelling is bad.

 

Though not so centrally located, another unmissable visit is to Millesgården, the former home of artists Carl and Olga Milles that was turned into a foundation in 1936. Located in the Lidingö island, what’s most striking about the museum is its lavish garden, overseeing the waters of Lilla Värtan. There one can stroll through myriad sculptures by Carl Milles – some copies, some originals – displayed either amid fountains or over tall pedestals, forcing the viewers to turn their heads up to fully appreciate them. The oldest construction in the compound, where the artists used to live and work, welcomes visitors to enter Carl’s studio and have a glimpse into the couple’s collection. As they started to make a name for themselves in the 1920s, their acquisitive power grew accordingly, thus they began to amass a collection of artworks focussing primarily on ancient objects – here again, some copies, some originals. On the newest house, a Modernist building through which the public enter the complex, there are interesting temporary displays. An exhibition of Josef Franks’s textiles and watercolours is now on, and the upcoming show will focus on Tove Jansson, an extraordinary Finnish author and artist who, among many other feats, conceived the Moomin universe.

 

From one suburb to another, Tensta Konsthall has since 1998 championed the social aspects of art, emphasising the local community. Tensta is a rather segregated part of Stockholm, consisting mostly of Plattenbau-style concrete buildings which are inhabited, in its great majority, by immigrants and their descendants. In such context, one cannot underestimate the importance of a free-admission art institution responding to the immediate surroundings. Artists who’ve realised projects and exhibitions in the premises include Dominique Gonzalez-Foerster, Wade Guyton, Iman Issa and Shirin Neshat – noteworthy, a strong feminine presence. Later in 2016, they’ll install Fuel to the Fire by Natascha Sadr Haghighian which, tuned with the politically-oriented ethos of the institution, aims at examining the role of police and media in uprisings. While central Stockholm is saturated with cool cafes, Tensta Konsthall’s coffee-shop (managed by a local family business) is one of its kind in the area, hosting gatherings by groups such as the Women’s Centre of Tensta-Hjulsta and the Kurdish Association. Since the refugee crisis reached its current critical level, they have also been operating as a meeting platform for asylum seekers, providing them legal advise and language courses. The institution’s website hints towards a non-hierarchical approach to organisation, as the staff page is listed in alphabetical order – with director Maria Lind’s name appearing accordingly, not on the top of the list. What’s more, in a time where the use of burkini has taken international headlines, Tensta makes of inclusion its motto, something that is again reflected in their website, which may be navigated in Swedish, English and Arabic.

September 5, 2016