Change search
ReferencesLink to record
Permanent link

Direct link
Former av politik: Tre utställningssituationer på Moderna Museet 1998-2008
Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.ORCID iD: 0000-0001-6458-2212
2015 (Swedish)Doctoral thesis, monograph (Other academic)Alternative title
Forms of Politics : Three Exhibition Situations at Moderna Museet 1998-2008 (English)
Abstract [en]

This study examines the concepts of art, politics and art institution departing from three cases of exhibition situations at Moderna Museet in Stockholm, 1998–2008. The cases are considered in relation to different aspects of the museum’s identity as an art institution.

The first case, the Pontus Hultén Study Gallery (2008–), is an interactive exhibition space containing 34 mechanical screens for displaying art. It is understood here as a comment on the museum’s identity as a collecting institution. The author critically analyses a number of common oppositions in avant-garde theory regarding museum culture, such as the museum as a place for passivity rather than activity, preservation rather than initiation, and ultimately death rather than life. The second case, the exhibition series Moderna Museet Projekt (1998–2001), was marked by the ambition to integrate artworks into contexts outside the physical museum building. Here case analyses focus on the distinction that the series established between art and a presumed alternative, such as life, reality, or politics. The third and last case, the sound installation Forty-Part Motet (2001) by Janet Cardiff, was installed in an exhibition space that actualised the ideals of the so-called white cube. In the institutional critique of the 1960s and 1970s, this exhibition space was dismissed as isolated and detached from society, an idea that is critically examined. Throughout the different case studies, spectator positions and potential agency are of particular concern.

This thesis concludes that the concepts of art and politics are different permeable forms of experiences, visibilities and practices, that cross and intertwine. This conclusion is informed by Jacques Rancière’s notions of aesthetics and politics. In this reading, the art institution is not a barrier separating art from politics, reality or life, but nor is it a dead or deadening space. Rather, the art institution, as a social space and concept of art, is considered as intertwined with other forms of visibilities and experiences. Thus, regarded as a frame for a certain type of visibility, the art institution is capable of establishing a difference that is both unproblematic and urgent.

Place, publisher, year, edition, pages
Göteborg Stockholm: Makadam Förlag, 2015. , 202 p.
Keyword [en]
art exhibition, art institution, the political, implied spectator, reception aesthetics, Moderna Museet, 1990s, 2000s, contemporary art, new institutionalism, Jacques Rancière, Mieke Bal, Pontus Hultén Study Gallery, Moderna Museet Projekt, Janet Cardiff
National Category
Art History
Research subject
Art History
URN: urn:nbn:se:su:diva-116052ISBN: 978-91-7061-177-3OAI: diva2:806352
Public defence
2015-05-28, De Geersalen, Geovetenskapens hus, Svante Arrheniusväg 12, Stockholm, 10:00 (Swedish)
Available from: 2015-05-06 Created: 2015-04-10 Last updated: 2015-06-08Bibliographically approved

Open Access in DiVA

fulltext(1060 kB)244 downloads
File information
File name FULLTEXT01.pdfFile size 1060 kBChecksum SHA-512
Type fulltextMimetype application/pdf

Search in DiVA

By author/editor
Lundström, Anna
By organisation
Department of Culture and Aesthetics
Art History

Search outside of DiVA

GoogleGoogle Scholar
Total: 244 downloads
The number of downloads is the sum of all downloads of full texts. It may include eg previous versions that are now no longer available

Total: 1485 hits
ReferencesLink to record
Permanent link

Direct link