Göteborgs Konsthall – en hundraårig konsthistoria

Abstract

Sometimes a study’s main benefit diverges from intentions and goals: it sheds light on other topics than expected, and these unintentional byproducts make reading even more valuable. A new publication on Göteborgs Konsthall makes this apparent. Published on the gallery’s centenary, the study, mostly written by Andreas Hagström, chronologically highlights the past hundred years. Yet even though this chronological account is decidedly interesting, the byproducts turn the book into a fascinating source. There is more to the historical account on a specific institution than expected because it sheds light on developments in Swedish cultural politics and art history during most of the th century. Moreover, the Gothenburg angle nuances, alters, and rectifies Swedish art history dominated by the capital’s perspective. Networks in the art world is one such topic that emerges from the text. A telling example is how the established gallery Svensk-Franska Konstgalleriet in Stockholm participated in the exhibition schedule. They had tight relations to Göteborgs Konstförening, especially to the curator Axel Romdahl, and were invited to show contemporary art in , selling well, and they did so again in  in the newly built Göteborgs Konsthall, now selling works to the art museum as well. What are the implications for Swedish art history? Is the art world merely small? Is Stockholm a looming presence and Gothenburg follows suit? How self-sufficient is Gothenburg? Oftentimes, connections to Great Britain and the US are mentioned preferably, but, as the example shows, other networks matter too. Obviously, the question of networks is complex and does not lie within the scope of the project on Göteborgs Konsthall, yet the rich presentation of archival material and lines of thought pave the way for future research. It becomes apparent that commercial interests are involved in an institution that is both freestanding and closely entangled in the art world. For Göteborgs Konstförening, commissioned art sales were a major source of income, as shown by Martin Gustavsson in his essay on economic aspects. However, art sales might have figured in a chapter of their own – now the question surfaces in various parts of the book and readers must draw their own conclusions. There are few surprises when it comes to finances. Costs for staff have risen over the years, with more specialized employees, especially within pedagogy. Importantly, there is a shift from private funding towards municipal funding over the course of the century. During the first fifty years, the society invested a lot in the purchase of art for their lotteries thereby supporting local artists. It would be interesting to take a closer look at financial implications for artists as well as the Gothenburg art scene in general and over time. The most important result by Gustavsson is, paradoxically, found