haunted by the shadows of the future artifacts

7/22/2019 Haunted by the Shadows of the Future ARTIFACTS

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Urban Re Mix, Mejan Arc KKH

ARTEFACTS

Haunted by Shadows

of the Future:


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Tensta karta / map


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Tensta under uppbyggnad / under construction


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Frord / Introduction

Haunted by Shadows of the Future: ARTEFACTS identierar reml frn slutet av1960-talet till slutet av 1970-talet som har e personligt eller familjrt samband medmnniskorna och samhllet under denna tid, och som innefaar en srskild knslaav tillhrighet, en nskan a vara en del av det moderna svenska samhlle som togform vid den tiden. Resultatet av dea kollektiva skande r en samling artefakter,reteelser och reml i hemmet, sammantade med rika personliga berelser ochupptckter. Dessa inbegriper en rskringsrsljares portlj, en rullbandspelaresom fngade e populrt radioprogram med en pratshow, en inspelning med en

landsyktig somalisk rfaare, tidiga exemplar av plastleksaker, diabilder frnsemestrar, vykortssamlingar och super 8 lmer, textiltryck med popmnster ochmnster r kldesplagg, lokala grnplanteringar, en arskedjas lansering av eanti-varumrke, den revolutionerande du-reformen, och andra samtida referenser,som e svenskt kvinnomanifest och en populr oljevrmare frn Iran. Stadsmuseetsvisningslgenhet i Tensta p Kmpingebacken 13, tjnar hr som en tidskapsel somppnar en hel vrld bakom dessa YTTERST vardagliga reml.

Haunted by Shadows of the Future: ARTEFACTS identies objects from the late 1960sto late 1970s that have personal or familial relationship with the people and thecommunities who lived during this era, and that embody a specic sense of belonging,a desire of being part of the modern Swedish society TAKING shape at that time. THEresult of this collective search is an assembly of artefacts, customs and domestic tropes,intertwined with rich personal stories and discoveries. ese include the briefcase ofan insurance salesman, the reel-to-reel tape recorder that captured a popular talk-shows evening broadcasts, audio of a Somali literary exile, the early launch of plastictoys, vacation slide shows, postcard collections and super 8 lms, Pop textile prints andclothing paerns, local green plantings, supermarket anti-consumer campaigns, therevolutionary du reform, and other contemporary references, like a Swedish feministmanifesto and a popular oil heater from Iran. e City Museums model apartment inTensta, located at Kmpingebacken 13, serves here as a time capsule that unfolds anentire universe behind these UTMOST everyday objects.


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kk kitchen

logng access balcony

vardagsrumlivingroom

sovrumbedroom

sovrumbedroom

toaletoilet

hallhall

klkcloset

badrumbathroom

trapphusstairs

Lgenhet / Apartment

Stadsmuseets visningslgenhet i Tensta City Museums model apartment in Tensta


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Interir / Interior


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En Urban Re-Mix / Mejan Arc Kungliga Konsthgskolan (KKH) produktionAnvnd QR-kod r a se videopresentationer frn Artefakter

A Urban Re-Mix / Mejan Arc Royal Institute of Art (KKH) productionUse QR-code to view Artefacts video presentations

Artefakter / Artefacts

Haunted by Shadows of the Future: ARTEFACTS is a collaboration made in the contextof Tensta Museum: Reports from New Sweden at Tensta Konsthall and the Urban Re-Mix course at Royal Institute of Art (KKH) in Stockholm. is experimental platform forunderstanding and engaging issues dealing with residential mass housing, new townsand other modernist utopian projects that were designed in postwar era Sweden and

beyond, has been conceived by STEALTH.unlimited (Ana Dzokic and Marc Neelen) andPeter Lang (Professor in Architecture eory and History, Mejan Arc KKH) and realisedtogether with participants of the Urban Re-Mix course

Haunted by Shadows of the Future: ARTEFACTS r e samarbete mellan TenstaMuseum: Rapporter frn nya Sverige p Tensta konsthall och kursen Urban-Re-Mix pKungliga Konsthgskolan (KKH) i Stockholm. Denna experimentella plaform r arst och delta i frgor rrande storskaliga hyresbostder, nya bostadsomrden ochandra moderna utopiska projekt, som utformades i eerkrigstidens Sverige och tidendreer, har skapats av STEALTH.unlimited (Ana Dzokic och Marc Neelen) och PeterLang (professor i Arkitekturteori och historia, Mejan Arc KKH) och rverkligatstillsammans med deltagarna i kursen Urban Re-Mix


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Aladdin AladdinBy Mohammad Hossein Abbasi

Aladdin is the name of a popular oil heater used between

1960-1980 in Iran. It had several functions like lighting,warming food and water and heating rooms, according totheir size. ey were designed to be portable though somewere designed for much larger room dimensions.

When I was born in 1986, Aladdins had already been replacedby the electic heaters, water radiators and other advancedheating systems based largely on gas or electricity. Hence,Alladins were mainly used in some rural areas that didnt

have electricity or gas.

During Iran-Iraq war in the 1980s, Tehran was under rocketaack and for about one year we moved to a rural areaaround Tehran without electricity and gas so the only solu-tion was Aladdin. I was a kid but I do remember many sceneswhen we used to gather around Aladdins for warming of

foods, studying and actually being warm. As I rememberthere, in that time I experienced a dierent lifestyle.

In our home in Tehran I spent most of my time in my roomand playing with my toys or watching cartoons in the livingroom. In that year we used to spend most of our time aroundAladdins without any TV and listening to the radio for keep-ing in touch with war news. Although in some cases speciallyin a room without ventilator or window they were so danger-ous, they were multi-function devices with variety of benetsthat consumed super cheap oil in that time.

Today Aladdin is part of history not only asan old type of heater but also the lifestyle itinfluenced. During the nights or winter families gatheredaround to have light, heat and keeping food or water warm.It seems that Aladdins were the rule in most contemporaryhomes.

Av Mohammad Hossein Abbasi

Aladdin r namnet p den populra oljevrmare som

anvndes mellan 1960-1980 i Iran. Den hade erafunktioner som till exempel belysning, vrmande av mat,vaen och och ven uppvrming av olika utrymmen i rum,beroende p deras storlek. De var utformade r a varabrbara ven om vissa var utformade r mycket strrerumsdimensioner.

Nr jag ddes 1986, hade Aladdin redan ersas avelektriska vrmare, vaenradiatorer och andra avancerade

vrmesystem som bygger till stor del p gas eller el. Drranvndes Alladin frmst i vissa landsbygdsomrden sominte hade tillgng till el eller gas.

Under Iran-Irak kriget p 1980-talet, var Teheran underraketaack och under unger e r yade vi till e lands-bygdsomrde utanr Teheran utan el och gas, s den endalsningen var Aladdin. Jag var liten men jag minns mngascener dr vi brukade samlas runt Aladdin r a vrma

mat, studera eller bara r a bli varma nr vi frs.

Som jag minns det, s upplevde jag en annan livstil nvrt hem i Teheran dr jag brukade tillbringa strre delenav min tid i mi rum och leka med mina leksaker ellertia p tecknad lm i vardagsrummet. Men under ret plandsbygden brukade vi tillbringa strre delen av vr tidrunt Aladdin utan TV och lyssna p radio r a lyssna pkrigsnyheter. I vissa fall gjorde vi det i e rum utan kteller nster vilket var farligt.

Idag r Aladdin en del av historien inte barasom en gammal typ av vrmare, men ocksden livsstil som pverkas.D brukade familjersamlas under nerna eller vinter tillsammans r a fljus, vrme och r a hlla mat eller vaen varmt. Detverkar som a Aladdin ersae normen i de esta modernahem.


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Tandberg Serie 14bandspelare

Tandberg Serie 14tape player

Av James Bare

Jag har valt en bandspelare av modellen Tandberg Series 14som en artefakt r Tensta Museumlgenhet eersom jagtror a den speglar de demokratiska vrderingar och socialamjligheter som associeras med Miljonprogrammet.

Fretaget med samma namn tillverkade Tandbergspelarenmellan 1968 och 1978 i Oslo, Norge. Tandberg hll en hgkvalitet och anvndes i skolor, universitet och i hemmen iSverige. Den gav vanliga mnniskor mjligheten a spela inljud, men ocks abstrakta kollage eller sina omgivningsljud. Ioch med dea utgr Tandberg brjan till den ls/skriv-kultur

som idag r standard genom digitala medier. Mnniskorkunde bde producera och konsumera mediamed sin Tandberg.

Likt skrivmaskinen i brjan av 1900-talet, gjordebandspelaren det mjligt r mnniskor a spela in och

drmed representera och ven abstrahera sina erfarenheteroch ider. Men till skillnad frn skrivmaskinen, krvdeinte Tandberg ngra speciella rdigheter (exempelvislskunnighet) r a fungera. S lnge ngon kunde tala ochlyssna, blev hemmaproducerade ljud tillgngligt.

Sjlva Tandberg-spelaren r hr kompleerad en upphiadinspelning frn brjan av 1980-talet av den landsyktigesomaliska rfaaren Nuruddin Farah (f. 1945). P bandettalar Farah om si rfaarskap, s vl som det Somalia han

vxte upp i och om diasporan och exilen han var en del av.Den somaliska diasporan r en viktig del av Tensta idag.Sledes r nstan 50 r av Tensta historia rkroppsligati Tandberg Series 14-bandspelaren, frn idn ommiljonprogrammet till tanken om mngkultur i Sverige idag.

By James Bare

I have chosen a Tandberg Series 14 reel-to-reel tapeplayer as an artifact for the Tensta Museum Apartmentas I believe it reects the democratic values and social

possibilities associated with the Million Program (Swedish:Miljonprogrammet).

e company of the same name manufactured the Tandbergbetween 1968 and 1978 in Oslo, Norway. Tandberg was ahigh quality device that was used in schools, universities andhomes in Sweden. It placed media in the hands of ordinary

people, allowing them to record audio and even abstract andcollage the sounds around them. In this sense, the Tandbergrepresents the beginnings of a read/write culture that is

standard with digital media today. People could producemedia as well as consume it with the Tandberg.

Like the typewriter in the early 20th century, the reel-to-reeltape recorder enabled people to record and represent and evenabstract their experiences and ideas. But unlike the type-writer, the Tandberg did not need extra coding (i.e. literacy)to operate. As long as someone could speak and listen, home

produced audio became accessible.

Finally, the Tandberg player here is accompanied by a foundrecording from the early 1980s of the exiled somalian writerNuruddin Farah (b. 1945). On the tape, Farah speaks of hiswriting, as well as the Somalia he grew up in and of the

diaspora and exile he was part of. e somalian diaspora isan important part of Tensta today. us, almost 50 years ofTensta history is embodied in the Tandberg Series 14 reel-to-reel player, from the aspirations of the Million Program to themulticulturalism of Sweden today.


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Swedish Women-Swedish Men Swedish Women-Swedish MenPublikation med engelsk text och engelsk titel avAnna-Greta Leijon, utgiven av Svenska institutet, 1968Av Ana Dzokic

D jag rra sommaren dammade mina morrldrarsbibliotek i en liten bergsby i Serbien, hiade jag pltsligt treav Svenska institutets publikationer frn 1968. En av demtilldrog sig min uppmrksamhet, d den avbildade esammantrde, dr en blond leende kvinna i r sier somordrande vid e mte r era mn med en kopia avPicassos Guernica vervakande dem. Det tog inte lng tida rkna ut hur denna bok hamnade hr.

r 1952, eer krigsren som yktingar, av vilka ngra till-bringades i byn Donji Dubac, tervnde mina morrldrarhit r a hjlpa mnniskorna i denna utfaiga landsbygd.Det som uppenbarade sig var e vgspel som skulleresultera i e kvinnokooperativ, som etablerades vid slutet av1960-talet med ver 700 kvinnliga medlemmar. Bortse frna ge dem mjlighet a tjna en extrainkomst genom agra textilier, var dea frmst en emanicipationsstrvan, somi min mormors restllning ven innefaade utbildnings-resor. 1969 skulle kooperativet n Stockholm med en buss.

Och det r d som de fr Swedish Women Swedish Men,en publikation skriven bara e r tidigare av Anna-GretaLeijon. Vid den tiden var rfaaren en statstjnstemananstlld av Arbetsmarknadsstyrelsen. Bara ngra r senare

skulle hon f sin rsta ministerpost. Boken fokuserarp den svenska vlfrdspolitiken och dess

strvanden eer en jmlik stllning fr kvin-norna i samhllet, i synnerhet betrandearbetsmjligheter.Den skildrar e nstan utopisktml i form av en oblodig revolution och e motstnd blandkvinnor r a komma dit. Genom en ovntad hndelse-utveckling ck jag i november 2013 mjlighet a traAnna-Greta Leijon, inte bara r a f hennes signatur iboken eer alla dessa r, utan ocks r a diskuterapolitiseringen av jmstlldheten i Sverige i dagens

perspektiv.

Publication, by Anna-Greta Leijon, published by SwedishInstitute, 1968By Ana Dzokic

Last summer, while dusting o my grand parents library ina tiny mountainous village in Serbia, suddenly I came acrossthree publications of the Swedish Institute from 1968. One ofthem aracted my aention, picturing an oce meeting, wherea blond smiling woman in red chairs a meeting with a severalmen, with a copy of Picassos Guernica overlooking them. It didnot take long to gure out how this book ended up here.

In 1952, following the war years as refugees, some of whichwere spent in the village of Donji Dubac, my grandparentsreturned here to give support to the people of this impoverishedhinterland. What unfolded was an adventure that would resultin a Womens Cooperative being established by the end of1960s with over 700 female members. Apart from giving themthe possibility to earn additional living by making textiles, thiswas foremost an emancipatory endeavour that, envisioned bymy grandmother, included also educational journeys. By 1969

the Cooperative would, on a bus, reach Stockholm.

And that is when they got Swedish Women Swedish Men,a publication wrien only a year earlier by Anna-Greta Leijon.At that time the author was a civil servant, employed by theLabour Market Board. Only a few years later she would get

her rst Ministers position. The book focuses on theSwedish welfare state policy and its aspirationsfor an equal position for women in society,

particularly in relation to work possibilities.It depicts an almost utopian aim of a bloodless revolutionand resistance, among women, to get there. In a great turn ofevents, in November 2013, I had a chance to meet Anna-GretaLeijon, not only to get her signature in the book aer all theseyears, but also discuss the politicisation of gender equality inSweden from todays perspective.


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DUX bandspelare frn 1961 DUX tape recorder from 1961with Hylands Hrnas (Hyland`s Corner) talkshowBy Antonie Grahamsdaughter

Dux reel taperecorder model SA 6127 A from 1960 withrecorded Jazmusik from the USA and talkshow with HylandsHrna from the Swedish radio and televison. is was theonly opportunity in the home to document programs andmusic before video recording was launched in 1979 withVHS tapes.

I came as a child to Sweden during the 60s and I rememberthe reel tape recorder was used extensively in our home.

It was stored in a designed string shelf togetherwith a black and white TV and books. The tape-recorder was turned on during Sunday break-fasts with Saturdays recorded programs of jazzand Hylands Hrna.We had several contemporaryappliances like typewriter, radiorecordplayer, portable TV,

folding cameras and a populer blue-gray Volkswagen.

e reel taperecorder of the mark Dux was recently found byme at a recycling center close to where I live. When I saw thetape recorder I immediately recognized it with its yellowedcase in faux leather and built-in speakers. In a compartmentinside I found a list wrien down with names of music and

programs. It was wrien on faded checked paper from mystepfather. I had the feeling that time had stopped right there.When I got home, I found that reel taperecorder still working!e sound was perfect and I could listen to several recordedtalkshows with Hylands Hrna and jazz music from1961.

e recorded material spans many hours with severalchannels and the ability to record on the other side of themagnetic tape.

Talkshows began to broadcast in 1962 on Swedish television.e model was taken from an American TV show, e JackPaar. Hylands Hrna was extremely popular and gatheredthe entire Swedish population around the television sets inthe sixties e program became a strong trendseer with its

invited politicians, artists such as Per Oscarsson.

och pratshowen Hylands HrnaAv Antonie Grahamsdaughter

Dux rullbandspelare modell SA 6127 A frn 1960 medinspelad jazzmusik frn USA och pratshow med HylandsHrn frn Sveriges Radio-Television. Dea var enda mj-ligheten a r hemmabehov dokumentera program ochmusik innan videoinspelning lanserades i slutet av 1979med VHS-kasseband.

Jag kom som barn till Sverige under 60-talet och minns

rullbandspelaren som anvndes itigt i vrt hem.

Den frvarades i en designad stringhyllatillsammans med en svartvit TV och bcker.Bandspelaren sattes p under sndags-frukostar med lrdagens inspelade programav jazz och Hylands Hrna.Vi hade era modernaapparater som kameror, radiogrammofoner, brbar TV m.m.och en blgr Volkswagen.

En rullbandspelare av typ Dux terfann jag nyligen p eterbrukscenter nra dr jag bor. Nr jag sg bandspelarenknde jag direkt igen den med dess gulnade fodral i imiteratskinn och inbyggda hgtalare. I e fack p insidan hiade

jag nedtecknade listor p program och musik. Handstilenp blekt rutigt papper var min styvfars. I rullbandspelarensa e rullband kvar som om tiden hade drjts sig kvar.Nr jag kom hem visade det sig a rullbandspelarenfortfarande fungerade! Ljudet var perfekt och jag kundelyssna till inspelad pratshower med Hylands Hrna

frn1961. P rullbandet nns ven jazzmusik frn USA.

Pratshower brjade sndas 1962 i Sveriges television.Frlagan var hmtad frn en amerikansk TV-show e

Jack Paar Show. Hylands Hrna blev oerhrt populrtoch samlade hela svenska folket vid TV-apparaterna under1960-talet. Programmet blev en stark trendsare med dessinbjudna politiker och artister som t.ex. Per Oscarsson.


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Min Fgelskjorta frnMah-Jong

The Bird Shirt fromMah-Jong

Av Barbro Gunmar

Mah-Jong var e Stockholmsbaserat kldretag som 1966grundades av Helena Henschen, Veronica Nygren ochKristina Torsson. Tre unga kvinnor som alla hade g ptextillinjen p Konstfack i Stockholm samtidigt och sedanbrjat skapa klder. Kristina Torsson reslog a de inteskulle konkurrera med varandra utan g samman.E gemensamt ml r dem var a formge vackra,rgstarka och lska basplagg, som hade tillverkats i

Sverige. Klderna skulle vara enkelt skurnabasmodeller utan modedetaljer. De skullekunna anvndas av bde kvinnor och mn ialla ldrar och hlla i mnga r.Det var mest folkfrn vnsterkanten och kvinnorrelsen som araheradesav klder frn Mah-Jong. Med namnet Mah-Jong ville manvisa si politiska engagemang och associera till Kina.

De ritade sjlva mnstren med rebilder i folkkonst,naturens bladverk och djurliv. Fglarna, blommorna och

bladen var tydligt ritade r hand med oregelbundenheteroch en levande rrelse. I Veronica Nygrens mnster Fgelr alla fglar individer. Nbbarna kan vara bjda eller raka.gonen r runda eller avsmalnande och fglarna tiar tolika hll. Man tryckte mnstren p tyger som, plysch ochsilkestrik, men ocks tunn bomull. Frgerna var viktigaoch rgkombinationerna oa ovntade som pistagegrntoch vinr, r och orange eller gult och bl.

Jag kpte min Mah-Jong skjorta i Uppsala 1973. Den var

praktisk a ha nr jag arbetade som bibliotekarie eersomman kunde stoppa ned nycklar, minneslappar, pennor ochannat anvndbart i de stora ckorna. Det tunna, mjukabomullstyget har tlt mnga tvar och varit l a stryka.Man beslutade lgga ned Mah-Jong p grund av ekono-miska svrigheter och samarbetsproblem med de svenskafabrikanterna. Nr Kristina Torsson 1983 startadeVamlingbolaget skapades en fortsning av Mah-Jong drde gamla mnstren fortlever liksom tygmaterialet silke-

plterad bomull, plysch, manchester och bomull.

By Barbro Gunmar

Mah -Jong was a Stockholm-based clothing company foundedin 1966 by Helena Henschen, Veronica Nygren and KristinaTorsson. ree young women who had all studied textiles atKonstfack in Stockholm and then started creating clothes.Kristina Torsson suggested that they would not competewith each other but instead co-operate. A common goal forthem was to design beautiful, colorful and easy to-care-

for garments, which had been manufactured in Sweden .

The clothes should be simply cut base models

without fashion details . They could be used byboth women and men of all ages and last formany years.It was mostly people from the political Leand the womens movement who were aracted to clothes

from Mah -Jong. e name Mah -Jong was meant to show apolitical orietentation and associate with China.

ey drew upon folk art, natural foliage and wildlife forpaerns. e birds, oral imprints and leaves were clearly

drawn by hand with irregularities that suggested a livingmovement. In Veronica Nygrens paern Bird each bird isan individual. Beaks can be curved or straight. e eyes areround or tapered, and the birds are looking in dierent direc-tions. e paerns were printed on fabrics like plush and silkknied fabric, but also thin coon . e colors were importantand there were oen unexpected color combinations, such as

pistacheo green and burgundy, red and orange or yellow andblue.

is particular Mah -Jong shirt was purchased in Uppsala in1973. It was handy to have when I was working as a librarianbecause you could slip keys, memos, pens and other usefulstu in the big pockets. e thin, so coon fabric hassustained many washes and been easy to iron.It was decided to discontinue Mahjong because of nancialdiculties and problems in cooperation with the Swedishmanufacturers. When Kristina Torsson started Vamling-bolaget in 1983 she created a continuation of Mah- Jong,

where the old paerns survive like fabric plaed coon,plush, corduroy and coon.


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Blvitt BlvittAv Heather Jones

Nr jag rst ck i uppgi a utforska e speciellt objekt

som var utmrkande r en ideologi eller kulturell nskanvid tiden r Haunted by the Shadows of the Future work-shop i Tensta, hade jag ingen aning om var jag skulle brja.Eersom jag r frn USA hade jag mycket sm referens-ramar r vad som var kulturellt relevant i Sverige p 1960-och 1970-talen.

Jag brjade med a slumpvis intervjua invnarna i Fija,Tensta och Hkarngen om vilket objekt eller vilken

ideologi som var symbolisk r tidsperioden runt nrmiljonprogrammet var p sin hjdpunkt. Jag ck gngp gng hra om Coop Konsum och ICA som i stort sevar de enda tv stora dagligvarukedjorna som fanns iSverige vid den tiden. Coop Konsum ansgs som folketsar, jmlikt och kooperativt drivet, medan ICA haderykte om sig a vara e kapitalistiskt och vinsthungrigtretag. Coop Konsum representerades av sin logotyp, enmrkbl liggande evighetssymbol. I slutet av 1970-talet,d man tyckte a alla skulle ha tillgng till ndvndiga

varor till e verkomligt pris och med e minimum avmrkeskonkurrens, lanserade Coop Konsum e ickemrkeskonkurrerande mrke r varor som kalladesBlvi. I enkla vita rpackningar med bl text erbjd deamrke allting frn livsmedel till hygienartiklar till klder.

Det slog mig a dea var en otroligt slende symbol, somtjnade som e mikrokosmos r vad som tycktes vara pgng ver hela Sverige under dessa tv decennier.

Betrande miljonprogrammet och Tensta, ser jag dessajmlika huskomplex som arkitekturens Blvi. Dessabostder var utformade r a hja den allmnna levnads-standarden och erbjuda kvalitet, trevliga levnadsvillkor irorten r alla medborgare till e rimligt pris.

Tyvrr slutade Konsum ra blvita varor i mien av1990-talet. Jag letade eer ngon slags vara med det blvitamrket och till slut kunde jag spra upp en gammal baby-

trja med en mycket urblekt Blvi-symbol nnu synlig pmrkeslappen.

By Heather Jones

When I rst received the task to research a specic object that

was indicative of an ideology or cultural desire at the timefor the Haunted by the Shadows of the Future workshop inTensta, I had no idea where to start. Being from the UnitedStates, I had very lile frame of reference for what wasculturally relevant in Sweden in the 1960s and 70s.

I began by casually interviewing residents in Fija, Tensta,and Hkarngen about what object or ideology wasemblematic of the time period around when the Million

Homes Project was at its peak. I was told repeatedly aboutCoop Konsum and ICA, what were essentially the only twomajor grocery store chains in Sweden at that time. CoopKonsum was viewed as the peoples store, egalitarianand cooperatively run while ICA had the reputation of acapitalist, prot-hungry corporate entity. Coop Konsum wasrepresented by its logo, a dark blue sideways innity symbol.In the late 1970s, with the belief that everyone should haveaccess to essential items for an aordable price and minimalbranding, Coop Konsum launched a non-brand brand of

goods called Blvit. In simple white packaging with blue text,this label oered everything from food to hygiene products toclothing.

It occurred to me that this was an incredible poignant symboland served as a of microcosm of what seemed to be happeningall over Sweden during these two decades. In regards tothe Million Homes Project and Tensta, I see these kinds ofegalitarian housing complexes as the blvit of architecture.

ese housing units were designed to raise the generalstandard of living and oer quality, pleasant suburban livingconditions to all citizens at an aordable price.

Unfortunately Konsum stopped carrying blvit products inthe mid 1990s. I searched for any kind of product bearing theblvit branding and I was nally able to track down a vintagebaby sweater with a very faded Blvit symbol still visible onthe tag.


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1967 VrldsutstllningenExpo 67, Montreal

1967 Worlds Fair Expo 67Montreal

Kartongask med enkel rulle Super 8 FilmAv Peter Lang

Innan det fanns digitala inspelningstekniker eller videokas-seer blev allmnt tillgngliga, fanns Super 8. Dea medi-um blev populrt r a producera hemmavideor men oaocks som rproducerade sm reklamlmer som visadesp hemmets egen Super 8-projektor. Castle Films kortlmom vrldsutstllningen i Montreal produceradesprofessionellt med Super 8-tekniken tillsammans med denhrt made Kodachrome-lmen. Filmen, som r unger

tre minuter lng, ger en versikt av de viktigaste och mestvisuellt slende paviljongerna, parkerna och futuristiskavisionerna som skapats till Expo 67. Genom i princip helalmen kan man se tg ka runt p den enspriga jrnvgen,kallad Monorail.

Nr jag var liten tog min pappa med mig till Expo 67. Detvar min rsta resa utanr USA. Jag minns a vi beskteden Sovjetiska paviljongen, den enorma geodesiska domen

som Buckminster Fuller ritat t den amerikanskapaviljongen, och Moshe Safdies Habitat - det rsta viktigamoderna bostadshuset jag kan minnas. Jag hiadenyligen den hr Super 8-lmen i si rgstarka fodral bland

mina kartonger. Som barn fyllde lmen mig medhopp; jag knde att jag var en del av en vrldsom redan var en del av framtiden, en platsmed satelliter i rymden, ygande bilar ochtransparenta domer. Jag ck knslan av enenad vrld utan nationella konikter.

Men, det var inte av dessa anledningar som Super 8-tekniken blev s populr under sin tid. Kamerorna varla a f tag p och de ljudlsa lmerna enkla a klippaoch redigera, ngot som gjorde det mjligt r en spirandegeneration av kreativa och skickliga bildkonstnrer aproducera lgbudgetlmer.

Cardboard case with single reel of Super 8 FilmBy Peter Lang

Before digital recordings or widespread access to videotapetechnologies, there was Super 8. is medium was popular formaking home movies and also commonly packaged into shortcommercial lms for silent screenings on ones own Super 8

projector. Professionally made using the brightly saturatedKodachrome lm, the Castle Films short on the MontrealWorlds Fair runs about 3 minutes, and provides a survey ofthe most important and visually prominent pavilions, parks,

and futuristic visions created for Expo 67. roughout most ofthe feature, one sees monorails gliding above broadesplanades crowded with people.

My father took me when I was a small child to see Expo 67. Itwas my rst trip outside the United States. I have memories ofvisiting the Soviet pavilion, the enormous US geodesic domeby Buckminster Fuller, and Moshe Safdies Habitatthe rstimportant modern residential building that I remember from

my childhood. I found this Super 8 in its colorful case justrecently among my boxes.For me, as a kid this lm

lled me with hope, I felt I was part of a world

already living in the future, a place of orbitingsatellites, flying cars and transparent domes.I felt the promise of a world united withoutnational conflicts.

Yet these Super 8 lms were prized, back in their day, forentirely other reasons. Commonly available, easy to spliceand edit, these commercially released silent shorts could beused, with a bit of imagination and skill, to make low budget

lms for a burgeoning generation of conceptual visual artists.


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From Russia with plasticfantastic

From Russia with plasticfantastic

Av Martin H Ljung

Jag r dd under det sena sjuiotalet. Under e av minarsta levnadsr bodde jag i Ryssland, d min pappa

jobbade p ambassaden i Moskva. Jag har inte srskiltmnga minnen frn denna period, men de ryska leksak-erna jag ck blev en av favoriterna under era r framt.Dessa gurer r gjorda av en plast, som kallas Fenol, ochr knsliga r solljus och avger en stark kemisk do. Detillverkades under sjuiotalet och restller soldater frnolika ryska stormaktstider.

Olika typer av plaster, eller polymerer, har anvnts tillleksaker sedan John Wesley Hya uppfann Celluloid kring

1860. Men det var p sjuttiotalet som intressetfr samlargurer i plast exploderade.Som en

jmrelse r hr e par exempel av plastleksaker frn olikadelar av vrlden.

Nr den rsta Stjrnornas Krig lmen hade premir i

USA 1977 fokuserade man mycket p dess kringprodukter,merchandise. Fretaget Kenner tillverkade en plastgur avnstan varje karaktr i lmen, totalt cirka 100 stycken.

I Europa hade den belgiska serietidningen Schtroumpfs(Smurfara) av tecknaren Pierre Peyo Culliford varitvldigt populr sedan premiren 1963. r 1976 kpte detamerikanska retaget Wallace Berrie and Co. righeternaa tillverka leksaker av smurfarna och det blev en vrlds-

omspnnande kommersiell succ.

I Skandinavien utvecklades LEGO, byggklossarna av plast,av dansken Godtfred Kirk Christiansen redan 1946, men detvar 1978 som de bermda gula gubbarna rst kom ut pmarknaden.

(1999 introducerades LEGO Star Wars baserad p de nyarelmerna. Dessa har varit en stor succ och har dreer letill en lika populr serie Tv-spel)

By Martin H Ljung

I was born in the late seventies. During one of my rst yearsI lived in Russia, since my father worked at the embassy inMoscow. I do not have many memories from this period, butthe Russian toys I was given were some of my favorite play-things for many years. ese gures are made of a certainkind of plastic material, called Fenol, and are rather sensitiveto sunlight and also smell of a certain chemical scent. eywere manufactured during the seventies and portray soldiers

from dierent powerful Russian eras.

Dierent kinds of plastics, or polymers, have been used fortoys since John Wesley Hya invented Celluloid around 1860.

But it was in the seventies that the interestfor collectable plastic gures boomed.To putthe Russian toys in a context here are some examples fromaround the world.

When the rst of the Star Wars movies hit the cinema in

USA in 1977 a lot of focus was put on the merchandise. ecompany Kenner produced one gure out of almost all thecharacters in the movie, around 100 in total.

In Europe the Belgian comic book Schtroumpfs (Smurfs) bycartoonist Pierre Peyo Culliford had been very popular sinceits premier in 1963. In 1976 the American company WallaceBerrie and Co. bought the rights to produce toys of the Smurfsand it turned out to be a global commercial success.

In Scandinavia the plastic building blocks LEGO wasdeveloped by Danish Godtfred Kirk Christiansen already in1946, but it was in 1978 that the famous yellow gures wereintroduced on the market.

(In 1999 the LEGO Star Wars series was produced based onthe newer movies. ese have been a great hit and the gureshave then been the source for a series of video games.)


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Du-Reformen Du-ReformenAv Adam Lundberg

Du-reformen introducerades i slutet av 1960-talet. Den

rndrade bde det formella och det informella vardags-sprket som anvndes i Sverige genom a rensa sprketfrn anvndandet av titlar i arbetslivet och i vardagen.Nyjandet av titlarna Herr och Fru svl som Dr., Direktr,Professor och s vidare rsvann till rmn r pro-nomenet du.

Frndringen tog plats nr professor (!) Bror Rexed r 1967blev utnmnd till chef r Socialstyrelsen. Vid si vlkomst-tal p sin nya arbetsplats bad han alla sina medarbetareignorera sina kollegors och verordnades titlar, och a varadu med honom, ngot som senare spred sig i landet.

Dea var ngot som tidigare varit reserverat r hemmetoch nra vnner och anvndes ej i professionella samman-hang. Sverige var tidigare e land med e vldigt formelltsprk, ven i dagliga interaktioner p arbetsplatser. A been kollega skicka ver en penna eller e visst dokumentkunde lta unger s hr:

Kan revisor Olsson vara s snll a skicka ver fakturan?Eer du-reformen kunde samma frga stllas p ljandes:

Kan du vara s snll a skicka ver fakturan? (Drmedtilltalades revisorn direkt, utan a behva anvnda henomstitel)

Sverige gick under denna tid igenom enradikal samhllsomvandling, ngot somraderade lejonparten av de historiskaskillnaderna mellan klass och kn.Du-reformen sg till att denna frndringven ndde vardagens sprk.

By Adam Lundberg

e Du-reform, which would translate into the you-/thou-

reform, came into eect at the end of the 1960s. It changedboth the formal and informal everyday language of Sweden,eectively stripping the language from personal titles such asMr./Mrs./Ms., professional titles (Dr., Director, Ambassador,Professor and so on) as well as erasing the use of the second

person pronoun ni (you) as a part of conversationallanguage.

e change occurred in 1967 when professor (!) Bror Rexedwas appointed chief secretary of Socialstyrelsen (e Swed-ish board of Health). In his opening speech he proclaimed hisunwillingness to use professional titles or ni as a pronoun andinstead his intention to use the more modern and informaldu when speaking to a fellow coworker. He also advised allhis employees to do the same, disregarding ranks and titlescompletely.

Sweden had previously been a country with a very formallanguage, even in day to day oce interaction. To ask a

colleague to hand over a pencil or a document could soundsomething like:

Could Accountant Olsson please send over the invoice?Aer the du-reform, the same question would be phrasedsomething like:

Could you send over the invoice? (thus addressing the saidaccountant directly without her/his title)

Sweden went through a radical societalchange during this time, erasing most of theprevious distinctions of class and gender. Thisreform, very much as a product of its time,made also the everyday language more equal.


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Siluett 1970 Siluett 1970Modemagasin med DIY mnsterAv Marc Neelen

Med internetrsljning av mode och klder p uppgng rdet svrt a komma ihg a r bara ngra decennier sedanvar denna del av vr personliga sr rknippad med enmdosam gr-det-sjlv-kultur. 1960- och 1970-talen sgen pulserande rrelse av rbringar i hemmen, praktiskasaker i hushllet och hemgjorda klder, som blev populrgenom bcker och tidskrier som visade dessa praktiskardigheter och tekniker r a gra s. I en mrkligblandning av konsumtionskultur och e framvxandemiljmedvetande (som drev projekt som Stewart BrandsWhole Earth Catalog med undertext Access to Tools)en hel generation har tagit hemmiljn i egna hnder bokstavligen.

Nr jag vxte upp ockuperade, varannan vecka eller s,en grupp kvinnor det stora bordet i vrt vardagsrummedan de bedrev en mystisk aktivitet. Frst senare skulle

jag rst a min mor, en textil- och kostymdesigner,skulle introducera dem i krngligheter i symnster och

textilier. Ibland ck ven vi barn vr del nrhon gjorde klder frn populra tidskriersom Burda och liknande. Hantverket attskrddarsy slutade frn och med d ochframver aldrig att locka mig som tonring,och s snart jag kunde f tag i en symaskinprvade jag min lyckamed stort nje.

En nyligen intrad expedition till Tallinn rde drrtillbaka en gammal krlek, i form av en utgva frn 1970 avSilue fashion magazine. Komple med skrningsmnster,s vackra och intrikata a e av dem slutade som asch.Det r dags a lta det f liv igen.

Fashion magazine with DIY paernsBy Marc Neelen

With Internet sales of fashion and garments currently on therise, it is hard to recall that just a few decades ago this part ofour personal sphere was connected to a laborious do-it-your-sel culture.

e 1960s and 1970s saw a vibrant movement of home-up-grades, household practicalities and self-made clothing, made

popular through books and magazines that exposed these prac-tical skills and techniques to do so. In a curious mix of consum-er culture and an emerging environmental awareness (which

propelled projects like Stewart Brands Whole Earth Catalog,subtitled Access to Tools) an entire generation has taken thedomestic sphere into its own hands - literally.

When I was growing up, every second week or so a groupof women occupied the vast table in our living room whileengaging in a mysterious practice. Only later I wouldunderstand that my mother, a textile and costume designer,would introduce them to the intricacies of sewing paerns and

textiles. Occasionally also we, as kids, would getour share when she made us garments frompopular magazines like Burda or similar. Thecra of tailoring from there on never escaped

my araction as a teenager, and as soon as I

could get my hands on it I would try my luck onthe sewing machine,with great pleasure.

A recent expedition to Tallinn therefore brought back anold love, in the form of a 1970 edition of the Silue fashionmagazine. Complete with cuing-paerns, so beautiful andintriguing that one of them ended up as a poster. Its time tobring it to life.


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Diaprojektor Slide ProjectorAv Ing-Gerd Robertson

I mien av 1960-talet kpte jag en kamera och

fotograferade i svartvi eller rg r vanliga fotograerp papper. Sedan upptckte jag den positiva rglmen(diapositiv) med diabilder som kunde visas p vggen meden projektor. Min diaprojektor, av mrket Liesgang inkpt1969, har e rakt magasin dr diabilderna ligger i fack.Bilderna visas i ljd genom a man trycker p knapparnap sidan av projektorn eller p en sladdrsedd dosa somman hller i handen, med grn knapp rs diabildernaframt och med rd knapp bakt. Det jag srskiltuppskaade med diaprojektorn d var a de projiceradebilderna gjorde mnniskor och miljer s levande och ocksa era kunde se bilderna samtidigt.

Mina rsta diabilder r frn en resa till Vst-Berlin ochst-Berlin vren 1969. Under 1970-talet bodde min manoch jag i en lgenhet i e nybyggt erfamiljshus i enstockholmsrort, i e s.k. miljonprogramsomrde.Vi gjorde mnga semesterresor, bl.a. kte vi skidor i Norgeoch Frankrike, bilade i England och cyklade i Holland

och Danmark. Jag fotograferade mycket p dessa resor.Vi brukade bjuda hem vra vnner och visa diabilder frn

semesterresorna.Det var roligt att visa egna dia-bilder och lika roligt att se andras bilder ochfrestlla sig platserna.Det hr var lngt re dendigitala revolutionen r bild och ljud.

Kodak introducerade den positiva rglmen 1935 ochdreer kom Agfa med en motsvarande produkt. Kodak och

Agfa var de stora tillverkarna. Frn brjan hade de olikametoder r framkallning men under 1980-talet gick Agfaver till Kodaks metod. Agfa slutade tillverka sin dia lmi samband med konkurs 2005. Kodak slutade tillverka ochframkalla Kodachrome 2009. Kodak har ocks tillverkatdiaprojektorer. Karusellprojektorn som introducerades 1964var p sin tid revolutionerande. Den hade e runt magasinr 80 diabilder.

By Ing-Gerd Robertson

In the mid -1960s I bought a camera and began to photograph

in black and white or color for regular photographs on paper.en I discovered images from color lm with slides could bedisplayed on the wall with a projector. My slide projector isa Liesegang purchased in 1969, which has a straight maga-zine where the slides are stored. e images are displayed insequence by pressing the buons on the side of the projector oron a box that you hold in your hand connected by a cord.What I especially appreciated about the slide projector wasthe way the projected images made people and places so vividand also being able to share the images simultaneously.

My rst slides are from a trip to West Berlin and East Berlinin spring 1969. During the 1970s, my husband and I did a lotof holiday travel, including skiing in Norway and France,driving in England and cycling in Holland and Denmark.I photographed a lot on these trips. We used to invite our

friends and show slides of holiday trips. It was just asmuch fun to show them our slides as it was to

watch their slides of other places.is was longbefore the digital revolution for picture and sound.

Kodak introduced the color slide lm in 1935 and then cameAgfa with a similar product. Kodak and Agfa were the majormanufacturers. Initially, there were various methods of de-veloping, but in the 1980s Agfa went over to Kodaks method.Agfa stopped producing its slide lm due to bankruptcy in2005. Kodak stopped to produce and develop Kodachromein 2009. Kodak has also made slide projectors. e carousel

projector was introduced in 1964 and was at the time revolu-tionary. It had a round tray 80 slide capacity.


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Statusportfljen The Status BriefcaseBy Emelie Saltas

e Status Briefcase belonged to my father in the early 70s.

He came to Sweden from Greece when he was 16 andover time became a respected man with inuence in hiscommunity. During my entire childhood I never heard my

father speak with an accent. He started out speaking Englishand shied to Swedish the day he felt he could handle thelanguage, not one day before.

My father kept himself presentable, oen sporting tailoredsuits and always clean-shaven. He kept his papers in order,

paid his bills on time and gladly helped others achieve thesame order. To t in to his new society he felt obligated towork twice as hard and strived towards an IDEAL the idealof the respectable man.

In his career as an insurance sales man the rule was that thecloser you got to this ideal the more you were rewarded.

But it is with ideals as it is with utopia thatby their nature they are unaainable.

ere is a folder that was used as an inhouse advertismentat the insurance company Ansvar (Responsibility) where my

father worked. He posed for the pictures, on the move sportinga sturdy briefcase next to the tagline: Surely you want theStatus Briefcase?.

roughout the folder the briefcase is described as strong,exible, handsome, appealing to customers etcetera.Aributes that of course is what the company want their sales

men to embody. e kicker is underlined: We dont sell itbut it can be yours. What the company is oering cannot bebought. It has to be earned. You must prove yourself worthy.Something happens between the object and the ideal. ebriefcase is charged with meaning. For my father the brief-case worked as evidence of belonging. Evidence that he was arespectable man.

Av Emelie Saltas

Statusportljen tillhrde min far i brjan av 70-talet.

Han kom till Sverige frn Grekland nr han var 16 r ochblev med tiden en respekterad man med inytande i silokala samhlle. Under hela min barndom hrde jag honomaldrig tala med brytning. Han talade engelska i brjanoch skiade till svenska den dag han knde a han kundehantera sprket, inte en dag tidigare.

Min far hll sig presentabel, oa med skrddarsyddakostymer och alltid renrakad. Han hade sina papper iordning, betalade sina rkningar i tid och hjlpte grna

andra uppn samma ordning. Fr a passa in i si nyasamhlle knde han sig tvungen a arbeta dubbelt s hrtoch strvade mot e IDEAL - idealet av den respektablamannen.

I hans yrke som sljare av rskringar rdde a ju nrmaredu kom det idealet desto mer belnades du.

Men det r med ideal som med utopi - detligger i dess natur att vara ouppneligt.

Det nns en folder som anvndes som internreklam prskringsbolaget Ansvar dr han arbetade. Min farposerar p bilderna, p vg ngonstans med portljen ihgsta hugg. Och reklamen lyder: Visst vill du ha status-portljen?.

Genom foldern beskrivs portljen som stark, exibel,snygg, tilltalande hos kunder med mera. Aribut som

rsts r vad retaget vill a deras rsljare ska vara.Kickern r understruken: Vi sljer den inte men den kanbli din. Vad retaget erbjuder, gr inte a kpa r pengar.Man mste arbeta r a n den. Visa sig vrdig. Frtjnaden. Det sker ngot mellan objektet och idealet. Portljenladdas med mening. Fr min far fungerade portljen some bevis p tillhrighet. E bevis p a han var en re-spektabel man.


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Berberis BarberryAv Helene Schmitz

Berberis, Berberis thunbergii r en taggbuske med med

giiga blad. I min barndom ck jag rensa den Berberis-hck frn ogrs som mina rldrar hade planterat runtgrsmaan p vrt sommarstlle. Berberis var populr psjuiotalet. Tidigare var arten rbjuden a odla i Sverige,eersom den br en sjukdom som kallas Svartrost.

En trdgrdsmstare beskriver Berberis som, En vxt somr e bra val om man vill undvika passager den kan alltsfungera som e slags stngsel r a hlla folk borta.eller; Denna asiatiska buske r invaderande och br inte

planteras. Berberis str ekosystemet. Vi rekommen-derar att Berberis inte planteras, och att dentas bort om mjligt .

Nr bostder byggdes i Sverige under fyrtio- och femtio-talet fanns e begrepp, hus i park. Frorter uppstod utanngon strre skada p miljn och den bentliga naturen. Ensvensk arkitekt, Ulla Bodor r e exempel p en arkitektsom tillmpade denna id. I hennes koncept ingick ocksvilka vxter som skulle planteras. Bodor presenterade enmngfald vxter.

Miljonprogrammets utformning var egentligen en utveck-ling av idn om hus i park Skillnaden var a nr manbyggde Miljonprogrammet p sextiotalet var det i mycketstrre skala n tidigare. Enligt rfaaren till Tusen ri Trdgrden, Maria Flinck , var det omjligt a verk-stlla den idn om hus i park, eersom, vxtligheten p

byggomrdet rjdes bort r a maskinerna skulle kunnakomma fram. Landskapsarkitektens betydelse minskade,dyrare vxter uteslts r a spara pengar. E ftal artermassplanterades. En av de mest populra vxterna varBerberis, som placerades runt byggnader, p grdar, vidlekplatser mm. Anledningen var en vergripande id psjuiotalet a anvnda vxter som var billiga, tliga ochkravlsa. Egenskaper passade vl r valet av Berberis.Dessa kriterier stmmer ocks verens med ider som var

brande under miljonprogrammets utformning.

By Helene Schmitz

Japanese Barberry, (Berberis thunbergii) is a prickly and hos-

tile thorn shrub with poisonous leaves. During summertime,in my childhood, I spent hours cleaning this vicious scrubfrom weed. Barberry was popular in the seventies. Earlier,Barberry was forbidden from cultivation in Sweden because itcarries a fungal disease called Stem Rust.

A gardener describe Barberry as, a plant that is a good choiceif you want to avoid passage it can thus serve as a kind of

fence and to keep people away. e website for a botanicalgarden comes with a warning on Barberry; is Asian shrub

is invading and should not be planted. Barberry disturbs theecosystem. We recommend that Barberry not beplanted, and that it be removed when possible.

In Sweden, during the forties and ies there was a conceptcalled House in the Park. New technologies allowed for newways to build, and new suburbs could be constructed with-out any signicant damage to the environment. A Swedisharchitect, Ulla Bodors practice is an example of the concept

House in the Park. Her idea of residential areas includeswhat plants would be used. Bodor included a great diversityof plant species.

e Million Program design was really a development of theidea of House in the Park e dierence was that when theMillion Program was built in the sixties, it was on a muchlarger scale than before. According to Maria Flinck, theauthor of the book A ousand years in the Garden it wasactually impossible to enforce the idea of House in the Park.All existing vegetation was removed, so that new and largermachines could pass. e importance of the landscapearchitect declined, and more expensive plants were excluded,all in an eort to save money. A few species were mass plant-ed. One of the most popular was Barberry, which was plantedaround buildings, at courtyards, playgrounds and more.e reason for this was an overall idea of using plants andmaterials that were cheap, durable and undemanding. All ofthese properties were well suited to Barberry. ese criteria

also t into the overarching ideas that were the foundation forthe Million Program.


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Vidells Vykort Vidells PostcardsBy Gary Zhexi Zhang

is is a postcard album that was discovered in a dusty box at

a loppis in Huvudsta. e postcards date from between 1968and 1975, all containing fairly banal correspondences fromfriends and relatives, obligatory reports about the weatheraround Europe. However, the addressees show that thealbum belonged to a single family - the Vidells - who lived inkersberga, an small town greatly expanded in the Miljon-

programmet years. e postcards speak a lile about theleisurely aspirations of a growing Swedish middle-class forwhom possibilities were emerging - from newly built homes toaordable ights.

I found on the internet (alarmingly eortlessly) that PerVidell, a 10 year old boy who appeared in the postcards, is stillliving at the very same family home. I called him but sadly hedeclined an interview, citing a busy 7-day work week.

Still curious to trace a portrait of the family, I found that Perregistered his own business - Vidells Skomakeri - in 1989, inthe mall at kersberga centrum. When I visited, the shop was

nowhere to be found, but a huge, modern extension to the oldmall had been opened 2 years ago, lled with big Swedishchain stores. I wondered whether Vidells Skomakeri had been

forced out of business by new competition. Later, on Blocket, Ifound a recent advert for the sale of Pers shop in kersberga,posted by himself, adding that he could continue workingthere under new management if necessary.

A fanciful reading of this lile investigative stalk suggests a

narrative reecting Miljonprogrammets socialist project forthe expanding middle-classes and the growing opportunities

available to them. Today, although the apartmentblocks still stand, the dream remains perhapsonly as faded memories of a utopia in the longshadow of corporate interests.

Av Gary Zhexi Zhang

Dea r e album med vykort som jag hiade i en dammig

lda p en loppis i Huvudsta. Vykorten kommer frn peri-oden mellan 1968 och 1975, och innehller tmligen banalakonversationer mellan vnner och slktingar, obligatoriskarapporter om vdret runt om i Europa. Vykorten i albumetvar dock alla adresserade till en och samma moagare -familjen Videll - som bodde i kersberga, en liten stad somexpanderat kraigt i och med Miljonprogrammet. Vykortenberar om den vxande svenska medelklassens fritid,ngot som blivit mjligt bde genom rymliga nya bostderoch utlandsyg.

P internet upptckte jag (orovckande enkelt) a PerVidell (en i vykorten 10-rig pojke), fortfarande bor kvar isi rldrahem. Jag ringde honom och bad om en intervjumen trkigt nog avbjde han med anledning av hrdarbetsbelastning.

P jakt eer e fotogra av familjen upptckte jag a Persedan 1989 drev e retag, Vidells Skomakeri, i gallerian i

kersberga centrum. Nr jag beskte kpcentret var sko-makeriet borta. Dremot hade gallerian nyligen byggts utoch fyllts med knda svenska butikskedjor. Jag undrade omVidells Skomakeri hade tvingats i konkurs medanledning av den nya konkurrensen. Senare hiade jagen annons som nyligen publicerats av Per p Blocket draren var till salu. I texten stod det a Per kunde fortsa

jobba i aren om den nya garen s nskade.

En eventuell tolkning av denna lilla underskning kanvara a vykorten och dess historia r e slags narrativ avMiljonprogrammets socialistiska id r den expanderandemedelklassen och de vxande mjligheterna som kom a

bli tillgngliga r dem. ven om husen str kvarn idag terstr nog bara drmmen om utopinsom bleknade minnen i skuggan avkommersiella intressen.


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Tyg med 70-talsmnster Textile with 70s designMarjaa Metsovaara Design: Miranda Made by TampellaBy Adela Zyto

is piece of fabric was bought in 1970 as I, as a youngstudent, was going to study at an American university.I wanted to take along something from home, somethingtypically Swedish. In this case it happened to be Finnish, butit was still Nordic.

e fabric was produced in the Tampella factory in Finlandan old factory. As early as in the 50`s the factory wasinvolved in engaging artists and textile designers to createdesigns in the production.

In the 60`s and 70`s a serial production of these designedtextiles began. At a lower cost, these fabrics became availableto a broader public. It was part of a democratic process thatbeautifully designed product could reach new groups.

is textile is made of coon and printed with a very largeower-motif in colors typical of the period, brown, orange and

yellow. The factory had successfully developed

a color printing technique for coon, whichmade it possible to print really large designs.You can see the Miranda- paern as an example. e starting

point is a depiction of a real ower, which is then enlarged somany times that the design takes on an abstract quality

I put the fabric on the wall of my study at the clinic in AnnArbor. It bore no similarity to the American fabrics and

paerns that you usually saw and it was much admired by

visitors. e fabric returned to Sweden together with me andwith a lot of good memories from an incredibly stimulatingtime in the US. Aer all these years I still like this Mirandadesign.

Marjaa Metsovaara Design: Miranda Made by TampellaAv Adela Zyto

Det hr tyget inkptes 1970, nr jag som ung student skulleresa r a studera vid e amerikanskt universitet. Jag villeha med mig ngot hemifrn, ngot typiskt svenskt. I dethr fallet rkade det vara nskt, men det r i alla fall frnNorden.

Tyget tillverkades i Tampella-fabriken i Finland, en fabrikmed anor, som funnits sedan 1856. Dr var man relativttidigt angelgen om a involvera konstnrer eller textil-formgivare i a skapa mnster till deras produktion.

P 60- och 70-talet brjade man serietillverka tyger somformgivits av textilkonstnrer. Dessa tyger blev inte s dyraoch drmed tillgngliga r en bredare allmnhet. Det bleven del av en demokratisk process a vackra tyger kunde nut till era.

Det hr tyget r tillverkat i bomull och tryckt med emycket stort blommotiv i r tiden typiska rger, brunt,

orange och gult. P fabriken hade man lyckatsmed att utveckla tekniken fr frgtryckp bomull s att det blev mjligt att tryckamycket stora mnsterytor.Det kan man se exempelp i det hr mnstret. Hr har man tagit e restllandemotiv, en blomma, som rstoras s mnga gnger amotivet fr en abstrakt kvalitet.

Jag hngde upp tyget p vggen i mi arbetsrum p

kliniken i Ann Arbor. Det liknade inte alls de amerikanskatyger och mnster man vanligtvis sg och vckte mycketbeundran bland beskarna. Tyget har ljt med hem tillSverige igen tillsammans med mnga minnen frn enoerhrt stimulerande tid. Eer alla dessa r tycker jagfortfarande om mnstret.


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T k / A k l d t


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Tack / Acknowledgements

Haunted by Shadows of the Future: ARTIFACTS r e experimentellt initiativ som har utvecklats r

den nyligen introducerade kursen Arkitekturteori och historia vid Mejan Arc, Kungliga Konsthgskolan(KKH) i Stockholm. Kursens sye r a ra samman professionella utvare, institutioner och kursdel-

tagare i e utforskande som utmanar de vanliga kulturreteelser som formar dagens stadsmiljer.

Course blogsite: hp://urbanremix1314.wordpress.com

Vi vill tacka alla som har hjlpt till a gra dea till en spnnande process. Tack Maria Lind, chef r

Tensta konsthall, r hjlp och expertis vid svl vgledning genom Tensta som r tillgng till resurs -

er, och tack konsthallens engagerade personal Ulrika Flink, Hanna Svensson, Emily Fahln, Paulina

Sokolow och alla vriga. De sammanrde oss med Anna-Greta Leijon och Lennart Svensson, vilkas

rstahandsberelser rde oss tillbaka till den svenska socialdemokratins glansdagar och inspireradevra gruppdiskussioner. Andres Kurg (Institutet r konsthistoria, Estniska Konstakademin, Tallinn)

och David Grahame Shane (rfaare till Recombinant Urbanism) kom med avgrande synpunkter

som vidgade vr rstelse av nya svenska bostadsomrden och deras inytande utomlands. Tack ven

Filippa Stlhane och Tor Lindstrand, som grep in och samordnade en srskild kvll mellan arkitektur-

skolan p KTH och KKH.

Haunted by Shadows of the Future: ARTEFACTS is an experimental initiative developed for the newlyintroduced Architecture eory and History Course at Mejan Arc, e Royal Institute of Art (KKH) in

Stockholm. Its objective is to bring professional practitioners, institutions and course participants together

in an exploration that challenges the standard cultural practices shaping todays urban environments.

Course blogsite: hp://urbanremix1314.wordpress.com/We would like to thank everyone who has helped

make this an exiting process. Maria Lind, director of the Tensta Konsthall, for her help and expertise in

guiding us through Tensta, as well as making available the facilities and Konsthalls dedicated sta -

Ulrika Flink, Hanna Svensson, Emily Fahlen, Paulina Sokolow and others. ey brought us in touch with

Anna-Greta Leijon and Lennart Svensson, whose rst hand stories took us back to the high-days of Swedishsocial democracy and inspired groups discussions. While Andres Kurg (Institute of Art History, Estonian

Academy of Arts, Tallinn) and David Grahame Shane (author of Recombinant Urbanism) brought

critical input to expanding our understanding of Swedish New Towns and their inuence abroad.

And Filippa Stlhane and Tor Lindstrand, who stepped in to co-organize a special evening between

Architecture school at KTH and KKH.

Kllor / So rces P blikation / P blication


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Kllor / Sources Publikation / Publication

Online Video

QR-kod / QR-code

text: Mohammad Hossein Abbasi, James Barre, Ana Dzokic,Antonie Grahamsdaughter, Barbro Gunmar, Heather Jones,Peter Lang, Martin Hedenstrom Ljung, Adam Lundberg,

Marc Neelen, Ing-Gerd Robertson, Emelie Saltas,Helene Schmitz, Gary Zhang, Adela Zyto

text redigerare/text editors: James Barre, Barbro Gunmar,Adam Lundberggrask design/graphic designer: Emelie Saltas

fotoredigering/photo editor: Helene Schmitzritningar/architecture drawings: Martin Hedenstrom Ljung

video: Antonie Maria Grahamsdaughter, Gary Zhangvideo editor: Mohammad Hossein Abbasi

En Urban Re-Mix / Mejan Arc Kungliga Konsthgskolan(KKH) produktion. Anvnd QR-kod r a se videopresentationer frn Artefakter

An Urban Re-Mix / Mejan Arc Royal Institute of Art(KKH) production. Use QR-code to view Artefacts videopresentations

Tandbergs serie 14 bandspelare, James BareP 1950-talet och 1960-talet ansgs Tandbergsbandspelare vara bland de bsta och det var som regel Tand-

bergbandspelare som kptes in till svenska skolor.hp://www.ravjagarn.se/blogg/tag/musik/

Swedish Women-Swedish Men, Ana DzokicA recording of the conversation with Anna-Greta Leijon,lmed by Antonie Grahamsdaughter, can be found here:hp://vimeo.com/79596004

Min fgelskjorta frn Mah Jong , Barbro Gunmarhp://www.vamlingbolaget.com/mah-jong/

hp://www.vamlingbolaget.com/about/Hallstrm Bornold, Salka, Det r r a gra uppror:Mah-Jong 1966-1976/[text: Salka Hallstrm Bornold; foto: Carl

Johan De Geer & Johanna Hald] Stockholm Modernista 2003 .

Du reformen, Adam LundbergBild: Bror Rexed, initiativtagare till Du-reformen.Klla: Bert Olsson/Bilder I Syd

Dia projektor, Ing-Gerd Robertson

A Brief History of Kodak Slide Projectors,hp://slideprojector.kodak.com/archives.shtmlFor Kodachrome Fans, road Ends at Photo in Lab in Kansas,e New York Times, hp://www.nytimes.com/2010/12/30/us/30lm.html

Berberis, Helene SchmitzOdla.nu, 2013.hp://www.odla.nu/vaxtlexikon/giiga-vaxter/berberise Morton Arboretum, 2013. hp://www.mortonarb.org/trees-plants/tree-plant-descriptions/japanese-barberryFlinck, M., 1994. Tusen r i Trdgrden. Stockhom: RabnPrisma.

Tyg med 70tals mnster, Adela ZytoSvinhufvud L..,1998. Finnish Textiles en Route toModernity. In: Aav, M. & Stritzler, N. (Ed)Finnish Modern Design. Utopian Ideals and EverydayRealities.1990-97. New Haven:e Bard Graduate Center for

Studies in Decorative Arts and Yale University Press.


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Haunted by Shadows of the Future: ARTEFACTSr esamarbete mellan Tensta Museums: Rapporter frn nyaSverigep Tensta konsthall 18/1-18/5 2014 och kursenUrban-Re-Mix p Kungliga Konsthgskolan (KKH) iStockholm. Denna experimentella plaform r a rstoch delta i frgor rrande storskaliga hyresbostder, nyabostadsomrden och andra moderna utopiska projekt, somutformades i eerkrigstidens Sverige och tiden dreer,har skapats av STEALTH. unlimited (Ana Dzokic och MarcNeelen) och Peter Lang (professor i Arkitekturteori ochhistoria, Mejan Arc KKH) och rverkligats tillsammansmed deltagarna i kursen Urban Re-Mix.

Haunted by Shadows of the Future: ARTEFACTS is a

collaboration made in the context of Tensta Museum:Reports from New Swedenat Tensta Konsthall 18/1-18/52014 and the Urban Re-Mix course at Royal Institute of Art(KKH) in Stockholm. is experimental platform for under-standing and engaging issues dealing with residential masshousing, new towns and other modernist utopian projects thatwere designed in postwar era Sweden and beyond, has beenconceived by STEALTH.unlimited (Ana Dzokic and MarcNeelen) and Peter Lang (Professor in Architecture eory andHistory, Mejan Arc KKH) and realized together with

participants of the Urban Re-Mix course.

haunted by the shadows of the future artifacts

Documents