Sweden in the United Nations – Dialogos by Ann Edholm Sweden in the United Nations – Dialogos by Ann Edholm on the occasion of the reopening of the renovated Economic and Social Council Chamber and the installation of the new curtain Dialogos by Ann Edholm on 22 April 2013 Publisher: Ministry for Foreign Affairs of Sweden Photos: Per-Erik Adamsson (pp. 22-23, 24-25) Margareta Bergstrand (p. 14) Bill Jacobson (pp. 19, 21, 26-27, 30, 31, 32, 33, 34) Matti Östling (ARKM) (p. 14) UN Photo (pp. 8, 13, 28, 35, 36) Artworks in this print are protected by copyright law. Artworks by artists represented by the Visual Arts Copyright Society in Sweden (BUS) are published with permission from BUS. Photo editor at the National Public Art Council Sweden: Lamin Kivelä © Ministry for Foreign Affairs of Sweden, the authors, the artists and the photographers Article no: UD 13.008 ISBN: 978-91-7496-453-0 Graphic design: Ritator Print: Göteborgstryckeriet, Sweden, 2013 Partners: The National Public Art Council Sweden, Swedish National Heritage Board, Moderna Museet, Stockholm, and the Permanent Mission of Sweden to the United Nations, New York Foreword Preface Sweden has always been a strong supporter of the United Nations. Through our development assistance, peacekeeping personnel, humanitarian aid and political commitment, we have contributed to the UN’s efforts to promote international peace, security, development and human rights. Many are the Swedes who have served the UN, be it in New York or in the many offices and missions in the field. The best-known, still, is former Secretary-General Dag Hammarskjöld. Known and appreciated for his dedicated work for the UN, Hammarskjöld was also in many ways personally involved in the interior design and art of the United Nations Headquarters in New York. Hammarskjöld took a great interest in the embellishment of the Economic and Social Council (ECOSOC) Chamber, in itself a gift from Sweden. The Chamber was designed by functionalist architect Sven Markelius, with a curtain by artist Marianne Richter, and represents the Swedish art and design of the 1950s. He also conceived the idea of the refurbishment of the Meditation Room, dedicated to world peace for peoples of all faiths and religions, and decorated with art by Swedish designers and artists. And over the years, Sweden and Swedish artists have continued to contribute works of art to the UN. A portrait of Hammarskjöld himself, by Bo Beskow, hangs alongside paintings of the other Secretaries-General. Outside the Headquarters, the bronze sculpture Non-Violence by Carl Fredrik Reuterswärd reminds the visitor of the reason and rationale of the world organisation. When the ECOSOC Chamber is now re-inaugurated, the Markelius curtain that later replaced the original Richter curtain, marked by time, has made way for the new curtain Dialogos by contemporary Swedish artist Ann Edholm. In her work, Edholm takes both Markelius and Richter as major points of reference. The other artworks donated by Sweden to the UN have also been restored. To mark the occasion of the reopening of the renovated ECOSOC Chamber and the installation of Dialogos by Ann Edholm, it is my great pleasure to introduce this booklet about Sweden in the United Nations from a design and art perspective. Wedges of white and orange meet in the fabric forming the curtain, Dialogos, by Swedish artist Ann Edholm. The physical location, the City of New York, is reflected in the abstracted skyline of the piece. At the same time, the pattern captures the essence and challenge of the United Nations itself – how to engage in dialogue from different directions and different experiences. The ECOSOC Chamber was designed by Swedish architect Sven Markelius, who held a strong belief that architecture can foster openness and democratic values. Dialogos relates to this concept as well as suggesting a contemporary view of the original curtain by Marianne Richter, visualising how central concepts need constant revision. The commissioner of Edholm’s work, the National Public Art Council Sweden, is the government agency responsible for making public art a natural and prominent feature in the community. Each year the Council commissions a number of site-specific works of art around the country. It also holds a collection of more than 100 000 works, displayed in various Swedish state-owned properties. As a matter of fact, the Council is a child of the Swedish welfare state and a contemporary to Markelius. When the Council was established 75 years ago, the Swedish welfare state was under construction, and through the Council, the visual arts were given a central position in the building of this society. Since then, the notion of art has changed considerably, as have the challenges of public space and the idea of what is public. The traditional image of public art is a statue in a square. But public space is as much a mental space, that is a sphere created when our thoughts and reflections are confronted with what we share and have in common beyond our own individual interests. This public space is a continuous diversified dialogue, within which different thoughts collide and questions and solutions continually need to be reformulated. In a similar way, contemporary art is far from just an object, but rather offers us profound experiences, new perspectives, and critical reflection. The concept of freedom of expression captures the ways in which art does not serve simply as decoration, but constitutes a fundamental element of a democracy. Equally important are the freedom of thought and the freedom to express oneself with all the means we human beings are capable of, through images, gesture, voice or movement. A person can have something very important to say, but if he or she is not able to express it, to give it a form in a manner that actually moves others, it will have no relevance. The arts have this unique ability to teach us not only how to think, but also to express ourselves, and thus art is not only decoration; rather it plays a key role in democratic development. Stockholm, April 2013. Carl Bildt Minister for Foreign Affairs 5 Proud and grateful to display Edholm’s work, the National Public Art Council Sweden would also like to express its gratitude for the great collaboration with the Swedish Ministry for Foreign Affairs, without which this project would have remained only a dream. Thanks also to the Swedish National Heritage Board, Moderna Museet and Lotta Mossum, our project manager. Magdalena Malm Director of the National Public Art Council Sweden The Economic and Social Council Chamber Its design and interior The Economic and Social Council (ECOSOC) Chamber was designed by Swedish architect Sven Markelius, who was a member of the international committee of architects that had a consultative role in the design phase of the United Nations building complex in New York, under the leadership of Wallace K. Harrison. Markelius is mostly remembered in Sweden as the foremost architect of the developing Swedish welfare state and as a city planner. It was suggested during the planning of the UN complex that the Scandinavian countries contribute national works of art to embellish the chambers for the Security Council, the Trusteeship Council and the Economic and Social Council (ECOSOC). Markelius was initially asked to suggest the design of the Swedish work of art for the ECOSOC Chamber and was later asked to suggest the interior design of the entire chamber. The chamber’s interior design and embellishment were largely presented as a national gift from Sweden to the United Nations. Markelius himself later described the work with the ECOSOC Chamber in an article published in 1953: 6 The nature of the United Nations as a forum for addressing international issues has found expression in various ways in its enormous newly built United Nations Headquarters complex in New York. The planning and construction has taken place in the spirit of international cooperation and has been characterised both by the sincere desire for broadbased collaboration and by the difficulties entailed in coordinating many and differing opinions. The actual building, its overall planning and design, must be regarded, however, as essentially a creation by Wallace Harrison and his closest associates. The international committee of architects, which gathered in New York for several months in 1947, had a purely advisory function. Various principles were discussed and the many differing ideas and projects that gradually accumulated on the committee’s desk were deliberated and reviewed. It cannot be denied that this preparatory work had an impact on the final project. But neither in connection with the ongoing planning work, nor during the construction phase was the advisory committee called upon or utilised in any other way. Nor, as far as I know, was any individual member in contact with the work during this time. The chief architect alone had architectural responsibility for the essential features of the building’s planning and design. I wanted to explain the situation on this point, as people have misunderstood this in various ways and have criticised the supposed collective form of the architectural work. No such imagined form of cooperation between the committee and the chief architect occurred, nor would it have been feasible to carry out. It was undoubtedly right to entrust the leadership of the main architectural task, from the outset, to one man. On the other hand, cooperation was sought with various countries’ art industries and applied arts regarding the building’s interior design and furnishings. One expression of this ambition was the initiative that led to the three council chambers – for the Security Council, the Trusteeship Council and the Economic and Social Council – being designed with contributions from Norwegian, Danish and Swedish interior design art. Originally, the task was limited to each country providing a gift representing its national arts and crafts. In conjunction with this, the Swedish Riksdag in 1951 approved an appropriation of SEK 160 000 to be used for a Swedish gift to embellish the United Nations Economic and Social Council Chamber. The commission assigned to me, to propose a suitable design for the Swedish gift, was expanded later to also include participation in the design of the chamber’s other furnishings. The later commission was from the UN Headquarters Planning Office and assumed comprehensive cooperation with that office. Three factors made this cooperation particularly imperative: time was short, the budget was meagre and strictly limited, and the building work was already well advanced, with a completed structure and orders already placed for many important interior fittings. The completed structure formed a room of large dimensions, roughly 50 by 20 metres. The height of the room along the window side was approximately seven metres. Because of the sharply rising ‘amphitheatre’ for the press and general public, this dimension was reduced at the 8 chamber’s upper end to just under three metres from the lower edge of the beam. The low ceiling height was from the outset an important factor in the detailed design of the room’s interior. To counterbalance the impression of the chamber’s compressed proportions, I thought it right to emphasise the area closest to the window, where the floor-to-ceiling height was greatest. Accentuating this part of the room would also logically highlight the delegates’ area. Both these aims led to the thought of bestowing a special atmosphere to the delegates’ area through the use of light, colours and, in relation to the rest of Interior of the ECOSOC Chamber, 1 March 1952, showing part of the famous open ceiling. UN Photo the room, finer materials and a more elaborate treatment of detail. According to this game plan, the delegates’ area would stand out as a relatively ‘closed’ interior in contrast to the room’s otherwise diffuse proportions; the platform lit up and the public gallery subdued and unobtrusive is hardly too contrived an analogy in this case. By limiting more costly interior fittings to a smaller area of the chamber, it also became possible, despite necessary economic restraint, to display an interior finish of the desired craftsman quality. The design of the delegates’ area was constrained by the space and design plan, not least by the fact that the large horseshoe-shaped table, with its complicated installations, was already designed and ordered. Naturally, the design of the window wall was also already decided. Glass walls between the council chamber and the booths for radio, press, television and simultaneous interpretation, etc. were already determined in terms of location and design details. The enclosing ribbed wall of knot-free pine was designed to provide a certain sense of reserve. It also protects the sound-absorbing facing on the section of wall behind it, increasing its efficiency. The floor is covered with a Wilton-quality carpet, delicately patterned with white stripes on a dark mottled background of black, brown and green. Around the carpet is a frieze of polished Ekeberg marble. The freely suspended white ceiling over the delegates’ area, which further emphasises this part of the chamber, was originally intended to stand out against a higher under-roof construction, painted in the subdued dark grey colour of the walls. As the planning progressed on the project, the proposed covering of the ceiling’s beam construction was abandoned, partly for financial reasons. These beams and the ventilation shafts, with their branching pipes and exhaust fans located between the beams, together created an interesting three-dimensional pattern which, painted in an appropriate colour, could be expected to enrich the impression without violating the original basic idea: the contrast between the ‘interior’ of the delegates’ area and the surrounding neutral whole. To this end, the dark grey tone of the walls was repeated on the ceiling, with rectangular patches and areas in black and white introduced with the intention of breaking up the ‘composition’ for the eye, making its technical elements less obvious. As neither I nor any of my associates were given the opportunity to monitor the colour scheme on site, the method of testing the colours on a large-scale model of the entire chamber was used. One model (reproduced here) of the actual ceiling was sent to New York to guide the painting work (vignette). The entire window wall can be covered with either a day curtain or an evening curtain. These textile works together comprise Sweden’s gift. Following a competition, their design was entrusted to Nordiska Kompaniets Textilkammare (the Nordic Company textile firm) and Märta Måås-Fjetterströms AB. The day curtain, designed by Astrid Sampe of Textilkammare, is a loose weaving made of rami yarn in natural tones. The evening curtain was designed by Marianne Richter and made using one of Barbro Nilsson’s elaborate tapestry-like techniques, with wool yarns on a linen ground. The colours were mainly orange, red and violet. Both these textile works, each in their own way, represent a very high artistic standard, well suited to the purpose that drove their creation. The delegates’ chairs, made of ash and covered with light-brown faux leather upholstery, were designed by Elias Svedberg, and like the secretaries’ chairs – with a chromium-plated frame – were delivered by Nordiska Kompaniet. The carpet was also delivered by Nordiska Kompaniet. The ribbed panelling and a number of other pieces of finished carpentry work were made by Holmsunds AB. The structural tube frame of the panel and barriers was delivered by AB Bröderna Hedlund. The marble frieze was a gift from Sveriges Stenindustriförbund (the Swedish association of quarrying industries). Architects Hans Borgström, Bengt Lindroos and Brian Richards have been valuable associates in the accomplishment of this architectural commission. 9 Architect Bengt Lindroos, who worked together with Markelius, later confirmed that one of the major challenges of the ECOSOC Chamber was the low ceiling height at the back of the room, designated for the press and the public. The solution to strip the ceiling at the back and make the fully visible construction beams and ventilation pipes a part of the architectural design in order to double the height of the ceiling was controversial. According to Lindroos, Harrison was initially against the idea. The open and ‘unfinished’ ceiling has made the ECOSOC Chamber famous in architectural history, not only because of its uniqueness but also because it has become a symbol of the ongoing work of the United Nations which is never finished. UN Secretary-General Dag Hammarskjöld personally thanked Markelius for the part he had played in creating the ECOSOC Chamber (see enclosed copy of a letter from Hammarskjöld to Markelius). The ECOSOC Chamber has undergone several alterations over the years, including drastic changes to the seating. The first change took place in 1974, when the number of Council members almost doubled. New delegate chairs were made in Italy to resemble the original chairs designed by Elias Svedberg and manufactured by the Swedish firm Nordiska Kompaniet. Over the years, the chairs have been mended and re-upholstered so that there are at least five variations of the chairs, with vinyl covers of slightly different nuances of beige. The horseshoe shape of the table for the chairperson of ECOSOC was altered and a podium was built and raised above the floor level. In 1995, Sweden financed the renovation of the floor, tables and lighting, as well as minor repairs of cracks in the paint on the walls and ceiling and cleaning of the carpet. In the recently renovated chamber, the walls have been painted in the original colours, the pine-slatted cladding has been cleaned and new lighting has been installed, along with new and modernised audiovisual equipment. Sweden has contributed financially to the renovation of the delegates’ chairs and donated the new curtain by Ann Edholm. 10 Letter from Secretary-General Dag Hammarskjöld to Sven Markelius, thanking Markelius personally for the part he had played in creating the ECOSOC Chamber. From The Swedish Museum of Architecture’s collections. 11 The curtains According to Markelius, it was the curtain designed by Marianne Richter that ultimately gave the ECOSOC Chamber its character. It was woven in Båstad at Märta Måås-Fjetterström AB, a wellknown studio that is still in operation. Once one of the largest and most expensive textiles ever made in Sweden, the curtain took ten weavers one year to complete. The curtain was huge, roughly 220 square metres in area. It was intended for evening use to cover the 22 by 7 metre window wall facing the East River, whereas a ‘day curtain’, designed by Astrid Sampe, was intended as protection against the glaring sunlight during the day. This intention was probably not followed, as the Richter curtain was too heavy to pull and served better as a backdrop for the chairperson of the ECOSOC than the view of the East River. In later years, security demanded that the Richter curtain cover the window at all times so that no one outside could look into the chamber. At the time, Richter’s curtain for the ECOSOC Chamber was described as the largest curtain in the world, as well as unique, because of its non-figurative character, displaying mussel-like patterns in orange, violet and white against a bright red background. The translucence of the cloth was a key element given its position over the large window facing the East River. “As a manifestation of Swedish textile art, the woven curtain is memorable,” stated the Swedish newspaper Dagens Nyheter in August 1952, when Richter’s curtain was shown at the National Museum in Stockholm prior to being shipped to New York. The newspaper added: “And it is precisely the absence of a narrative subject that gives the work its calm dignity, a stability and gravitas that must be a major asset in such a consciously architectural space as Markelius’s chamber would seem to be.” Already by the early 1960s, the curtain was showing signs of deterioration. In 1965, it was sent back to Sweden, where it was treated and washed. After this, it was sent back to New York and rehung in the ECOSOC Chamber. In accordance with the laws of New York City, the curtain had been treated with a flame-retardant 12 The ECOSOC Chamber in its original design in 1952 with the curtain by Marianne Richter. UN Photo chemical before it was installed in 1952. It is not known today if this treatment was repeated after it was washed in 1965. What is known is that its condition deteriorated rapidly and new treatments were considered. In the early 1980s, the condition of the curtain was so bad it was taken down. At the artist’s request, some smaller pieces were sent back to Sweden and to the Märta Måås-Fjetterström studio (see enclosed photo, p. 14). One piece remains at the Minneapolis Institute of Arts. Richter’s curtain is a lost great work of art of Swedish Modernism. In 1988, the curtain was replaced by a geometrically-patterned velvet curtain in mostly red, yellow and orange, designed by Markelius. The printed pattern, ‘Pythagoras’, was designed at about the same time as Markelius was working with the ECOSOC Chamber, but it was intended at that time for entirely different buildings: Folkets Hus in Linköping and the Royal Institute of Technology assembly hall in Stockholm. Pythagoras is a Swedish design classic and is still in print. Over the years, this curtain also became badly soiled and the white parts of the pattern had yellowed. An informal spot test performed on site in 2008 indicated that a cleaning of the curtain would not be entirely successful. 13 Dialogos – διάλόγος Ann Edholm – Space and Body Fragments from and trial weave with samples of specially dyed yarns for the curtain by Marianne Richter. Photo: Margareta Bergstrand After thorough consideration, prior to the renovation of the chamber recently carried out, a reconstruction of the original curtain was ruled out. It would be too costly and it would also be impossible to return the ECOSOC Chamber to its original state as in 1952. Conservation of the Markelius curtain was also considered to be too costly. It was finally decided that Sweden would donate a contemporary work of art for the ECOSOC Chamber that would symbolise Sweden’s dedication to the United Nations and convey the special character of Swedish contemporary art. This also coincided with the idea that the ECOSOC Chamber was a room for ongoing change and a ‘workshop for peace’. Marianne Richter: Sketch for curtain, 1952. Photo: Matti Östling. From The Swedish Museum of Architecture’s collections. 14 To be honest, being a painter, a born painter to the very tips of her fingers, it is pretty amazing that Ann Edholm is the author of the curtain for the ECOSOC Chamber. Noted for several large public commissions and working in extended series, Edholm stages large, occasionally even monumental, paintings that verge on both geometric abstraction and delicate expressionism. The latter reveals itself in barely perceptible details such as small thumbprints and smear marks made by the brush or, more often, by the palette knife, thus destabilising the seemingly solid compositional patterns of basic geometric shapes. With an elaborate network of cultural, religious and symbolic references, Edholm meticulously merges classical painting with elemental geometric shapes and sudden painterly gestures. While at first glance these marks may appear as smudges, they reveal unexpected connotations to other traditions of Western art and to highly contemporary discourses concerning the relationship between painting, the human body and the self. This approach to painting has now been transformed into a curtain that is closely connected with its predecessors and the special architecture of the ECOSOC Chamber. As its title, Dialogos, suggests, Edholm’s curtain seeks to establish and promote an artistic discourse characterised by principles of equality between the various factors involved: primarily the City of New York, with its familiar and often graphic silhouette; the East River outside the chamber’s panoramic windows; the city’s special light; Markelius’s architectonic vision, based on the fundamentals of Functionalism, with a particular emphasis on the delegates’ area closest to the window, with its original horseshoe-shaped arrangement of tables, in relation to the other parts of the chamber, not least the roof construction with its beams, ventilation ducts and other functional details as parts of a large, abstract composition; Richter’s original orange, red, purple and white curtain from 1952, with its butterflyshaped compositional elements; and, not least, the delegates, the 15 general public, and all those who use the chamber and who – thanks to the monumental impact of the curtain and its precise character of decisiveness, strength, and transparency – are expected to experience the significance of the democratic discourse and the historic importance of the decisions that are made in the chamber. The Greek title of the curtain, διάλόγος (Dialogos), relates naturally to Edholm’s oeuvre that has been characterised precisely as ‘grand’, on the edge of the sublime in dialogue with, for example, the American Abstract Expressionist Barnett Newman, who was at the peak of his art at precisely the time when the ECOSOC Chamber was built and when Markelius was commissioned to design the interior, as well as the Russian founder of Suprematism Kazimir Malevich and the German Romantic Caspar David Friedrich. Conceptually, διάλόγος seeks its point of departure in the notion that the first democratic discourse took place between free citizens at the Agora in Greek antiquity, as a reminder of the significance of the mutual exchange of views on equal terms, something that also characterises the United Nations and is also embodied in the deliberations that take place at a global level within the ECOSOC Chamber. Moreover, the title of the curtain recalls the etymology of the notion, with the combination of the Greek prefix διά and the word λόγος (logos), which was used by Plato and Aristotle to describe human reasoning and our knowledge of the world and of ourselves. The dictionary is emphatic on this point: the word ‘dialogue’ originally meant ‘by means of conversation’. This is a notion which also applies metaphorically to Edholm’s curtain, reflecting a mutual conversation between the wedges which, in turn, leads to ‘sharp’ decisions and resolutions, just as sharp as the points of the wedges in the graphic composition. The Special Light and Architecture In her work, Edholm discusses – in an interesting interplay with contemporary art – precisely those functionalistic ideals of purity, simplicity and frankness on which Markelius insisted. Thus, the curtain elucidates both Markelius’s and Richter’s engagement in 16 First sketches of the curtain, by Ann Edholm in collaboration with HV Studio, at the beginning of the process in 2010, with calculations of the scale and proportions of the pattern in relation to the windows of the ECOSOC Chamber and proposed fabrics. The initial sketches were in black and white, pending a decision on the final colours of the curtain. From Ann Edholm’s private archive. qualities such as light, space, and bodily presence. All this is repeated in Edholm’s curtain, as its most obvious frame of reference, together with significant echoes of her own oeuvre, setting the curtain into its equally obvious contemporaneity. Dialogos builds on the idea of the possibility of a dialogue with Markelius and Richter, as well as between the outer room and the architectural interior, as it was once created and designed by both Harrison and Markelius, in which the large panorama windows open to the East River and the buildings on the opposite shore. As already mentioned, the special light of New York City was also a source of inspiration. This light was also referred to, for example, by the American artist Brice Marden when, in 1980, he explained that his paintings should be experienced as both hot and cold at the same time: “By cold I mean as in hot and cold. I mean, now in this light it looks cold, in this daylight – famous silvery New York daylight, 17 on the Bowery.” The glittering East River, the intense light and the silhouette of the skyscrapers opposite all converse with the chamber through the huge windows pierced by the contrasting bars of the window panes. Like Richter, Edholm also displays a specific sensitivity in regard to the monumentality of the space of that part of the chamber which is closest to the window. The ‘cloud’, the white ceiling suspended above the delegates, points to the large scale here. A photo from the 1950s shows a man standing in front of the window, whose bodily reference thus emphasises the grandness of Richter’s curtain. The window wall is seven metres high, and above the man in the photo, the wedge-shaped patterns of Richter’s curtain unfold the curtain’s ‘angel wings’ (like the angels children love to make in the snow during the winter). The curtain is characterised by a strong visual force, both from a close and a more distant position of the viewer. The distinct encounter between the size of the triangles and their distribution allows for a change of the curtain’s scale effect, depending on the viewer’s position. The colours are simultaneously linked to that dark space which Markelius and his team tried to achieve when working with the contrasts of the open ceiling’s modular structure. Dialogos As mentioned, Dialogos thus establishes and sustains a very special artistic discussion with Markelius’s distinct architecture, with its functionalist foundation, not only through the orange and white wedge shapes that are vaguely reminiscent of 1950s Swedish Modernism, but also on account of the curtain’s ‘rational’ design and, not least, through its graphic simplicity which creates a sense of monumentality in relation to the scale of the interior. The effect is nothing less than a determined, cogent and convincing discourse between an architecture that is as proud as it is modern, and a curtain that has been designed expressly to stimulate such a discourse with the help of unequivocal artistic arguments based on the idea that the decisions made in the chamber are understood as realised visions 18 Ann Edholm: Dialogos (2012). Installed in the ECOSOC Chamber. Photo: Bill Jacobson ‘with their feet firmly on the ground’ and their gaze directed towards the light. Much as in Plato’s Socratic dialogues, a particular relation to both tradition and the here and now is simultaneously created. In accordance with Markelius’s original ideas, the monumental impact of the curtain and the contrast between the intensely orange wedges and the equally intense white ones, where the density of the colours is achieved through the light-absorbing felt fabric, is intended to establish the delegates’ area as a partially enclosed interior with a very special character. At the same time, the curtain should remain in dialogue with the chamber in general. The ceiling surfaces form important compositional elements, working together with the ventilation ducts and other technical equipment, as well as the curtain’s functionalistic design, paying homage to Markelius as one of the leading architects of the epoch-making Stockholm Exhibition of 1930. It is worthwhile repeating that if διάλόγος was conceived to pay homage to Markelius and Swedish Functionalism, and, not least, as a reference to the dialogue character of the democratic discourse, 19 then, indeed, it should also be seen as paying homage to Richter. It is no coincidence that the wedge shapes refer indirectly to the ‘butterflies’ that were created on Richter’s original curtain, using wedge shapes that were a characteristic visual element in Swedish Modernism at that time. Edholm’s curtain builds on the insight that the inheritance from both Markelius and Richter is a binding obligation for contemporary Swedish art. Dialogos was made as two lengths of curtain. Dividing the curtain into two lengths was necessary for reasons of safety, for opening the curtain and for emptying the building, if necessary. The wide sections of the curtain were made as uniformly and as tightly stretched as possible, the white wedges creating the effect of painting in opposition to the orange wedges. At this point, the curtain enters into discourse with important parts of Edholm’s art, in which the specific character of painting is, as mentioned, an absolutely essential element impossible to put aside in spite of the fact that we – here – encounter a curtain. Edholm describes it herself in a manner that leaves no room for doubt regarding precisely the relationship between image and body: “In my paintings the beholder is in a frontal position, body to body, seen from in front. You see the picture at a distance and the closer you get to it, the more the picture dissolves into colour, body and painting.” Indeed, Edholm manages to combine painting with sculpture and textile, and space with thought, concept, idea and the human body in a communion that simultaneously comprises all of the equally subtle and artistically significant aspects that these promote and require. It has also been said that, ever since the early 1980s, her work has concentrated on developing an approach in which painting opens itself as both a speaking and a listening medium without compromising its material nature as involving anything else than such basic necessities as brushes and pigments, oil, turpentine, squeegee, cotton canvas, wooden stretcher, staple gun, hammer and nails. According to the Swedish critic Anders Olofsson, it is natural for Edholm to use painting as a medium for testing all of the relationships between figures and volumes that have often led other artists to sculpture or to a physically much heavier style of painting in which the canvases acquire the character of massive 20 Ann Edholm: Dialogos (2012). Installed in the ECOSOC Chamber. Photo: Bill Jacobson objects; each line, each form that seeks out a place on her canvases is also, in a physical sense, the bearer of narratives that emanate from our meeting the image in the same way that the human body is the home of language. Perhaps this is the real secret underlying Edholm’s ability to attract both body and idea: her way of expressing the strange combination of physical presence and intellectual urgency in a manner in which both collaborate with each other without being separated. She has now done it in textile, too. Tom Sandqvist Writer and Professor of Art Theory and the History of Ideas as well as Docent in Art History Following pages: Dialogos at KKV, where it was produced (pp. 22-25); Dialogos installed in the ECOSOC Chamber, April 2013 (pp. 26-27). 21 22 23 More Swedish art and design at the United Nations Headquarters in New York The Swedish gifts to the United Nations Headquarters in New York form a landmark in Sweden’s art and design history, albeit unknown to a larger public. The Dag Hammarskjöld Meditation Room Dag Hammarskjöld Meditation Room with Fresco by Bo Beskow (1957) and iron ore block from Sweden. UN Photo 28 The Meditation Room was part of the original plans when the United Nations building complex was built. At the initiative of Dag Hammarskjöld, the room was refurbished in 1956 and 1957. Hammarskjöld personally took an active part in this work. He stated in his booklet for the reopening of the refurbished Meditation Room in 1957, “This house, dedicated to work and debate in the service of peace, should have one room dedicated to silence in the outward sense and stillness in the inner sense.” The room includes a fresco by the Swedish artist Bo Beskow, a close friend of Hammarskjöld’s, and an iron ore block imported from Sweden. The fresco is mounted on a panel, creating the impression that it floats out of the wall. With the composition, Beskow has tried to open up the room so the eye can travel into the distance when it strikes the wall. As a resting point for the eye, there is a black semicircular form where all the lines in the fresco and the room converge. Weighing more than six tons, the iron ore block is located in the middle of the room. According to Hammarskjöld, in the same booklet, “We may see it as an altar, empty not because there is no God, not because it is an altar to an unknown god, but because it is dedicated to the God whom man worships under many names and in many forms.” Hammarskjöld continues: “The material of the stone leads our thoughts to the necessity for choice between destruction and construction, between war and peace. Of iron man has forged his swords, of iron he has also made his ploughshares. Of iron he has constructed tanks, but of iron he has likewise built homes for man. The block of iron ore is part of the wealth we have inherited on this earth of ours. How are we to use it?” 29 According to available correspondence, the original carpet in the back of the room was made by HV Studio, which has now also made the new curtain by Ann Edholm for the ECOSOC Chamber. The carpet has since been replaced. The benches in the room were designed by Swedish interior designer Carl Malmsten. The Dag Hammarskjöld Library The Dag Hammarskjöld Library, built in 1961, was appointed with furniture and carpets from Sweden, including five carpets designed by Astrid Sampe and woven by Kasthall. The carpets have since been replaced. Other works of art Bo Beskow: Portrait of Dag Hammarskjöld (1966). Oil (est.) on canvas. Joint donation by the Ford Foundation and the Bonnier Company. Photo: Bill Jacobson 30 Bo Beskow: Composition for Concave Wall (1961). Oil (est.) on solid support. Located in the Penthouse. Donation by the Ford Foundation. Photo: Bill Jacobson Dag Hammarskjöld Meditation Room with Fresco by Bo Beskow (1957) Photo: Bill Jacobson 31 Celina D. M. de Mundin Schaffter: Portrait of Dag Hammarskjöld (1974). Oil on canvas. Joint donation by Argentina and Sweden. Photo: Bill Jacobson Arne Olsson: New York – New York (1991). Nine individual bronzes. Donation by H.M. King Carl XVI Gustaf of Sweden and his sister Princess Desirée. Photo: Bill Jacobson Solveyg W Schafferer: Portrait bust of Folke Bernadotte (1997). Bronze. Photo: Bill Jacobson. 32 Carl Frederick Reuterswärd: Sketch for Non-Violence (1988). Acrylic (est.) on board. Donation by the artist. Photo: Bill Jacobson 33 Sweden and the United Nations Ever since becoming a member in 1946, active involvement in the United Nations – as the core element of effective multilateralism – has been a cornerstone of Sweden’s foreign policy. For many, Dag Hammarskjöld, Secretary-General 1953–1961, epitomises Sweden’s commitment to the world organisation. Other Swedes that have served the UN in prominent positions include Folke Bernadotte, the UN’s first mediator, and, more recently, Jan Eliasson, both as President of the General Assembly, and currently as Deputy Secretary-General. Agda Rössel was the world’s first female Permanent Representative to the UN (1958–1964). Over the years, some 80 000 Swedish military and civilian personnel have served in UN peacekeeping operations worldwide. The long-standing Secretary-General Dag Hammarskjöld in front of the United Nations Headquarters in New York, 1 June 1953. UN Photo United Nations Headquarters Building East View from Queens. Photo: Bill Jacobson 34 Swedish support for the UN and the principles and purposes of the UN Charter is based on the recognition that global challenges must be met through international cooperation. This requires standards, international agreements and institutions that cover, and are respected by, all countries. Within the UN framework, Sweden is actively involved in conflict prevention, peacekeeping, peacebuilding, humanitarian operations, international law and human rights, global sustainable development, development cooperation, climate change and disarmament. Sweden is also promoting reform of the UN system to enhance the ability of the organisation to meet tomorrow’s challenges. 35 Sweden is one of the leading donors to the UN and one of the few countries that, at 1 per cent of its gross national income (GNI), exceeds by a broad margin the UN development assistance goal of 0.7 per cent of GNI. Sweden is actively working to help fulfil the UN Millennium Development Goals and is engaged in the development of the post-2015 agenda. Sweden is also one of the largest bilateral humanitarian donors in the world and a key funder of several UN bodies, including UNICEF, UNHCR, UNFPA, OCHA, UNDP and UNRWA. By contributing financially and by being deeply involved in the policy dialogue, Sweden aims to further increase the relevance, efficiency and effectiveness of the UN development system. The importance of close cooperation between the UN and regional organisations will continue to grow. In this context, Sweden seeks to contribute to closer ties between the UN and the EU. Biographies Ann Edholm Ann Edholm (born 1953) is one of the most talked-about painters in Swedish contemporary art, exhibiting her work in both Sweden and abroad. She is most well-known for her occasionally monumental paintings that verge on pure abstraction and subtle Expressionism, inspired by such artists as Barnett Newman, Caspar David Friedrich, Matthias Grünewald and Kazimir Malevich. She has had several solo exhibitions in Stockholm, Gothenburg, Uppsala, Nyköping, Kristinehamn, Malmö, Berlin and London, and has participated in group exhibitions in such places as Stockholm, New York, Bucharest, Vilnius, Berlin, Frankfurt, Riga, Copenhagen, Amersfoort, Geneva and Seville. Sven Markelius Sven Markelius (1889–1972) was one of Sweden’s most important architects, playing a decisive role in the post-war urban planning of Stockholm, including the creation of the model suburb of Vällingby in the 1950s. He was one of the founding members of the Congrès International d’Architecture Moderne (CIAM) in 1928 and participated in the Modernist housing section of the Stockholm International Exhibition in 1930, an exhibition characterised as the birth of Swedish Functionalism. In 1947, Markelius was nominated to the Board of Design Consultants for the United Nations Secretariat building in New York and was also responsible for the interior design of the Economic and Social Council (ECOSOC) Chamber. Marianne Richter Secretary-General Dag Hammarskjöld in 1959. UN Photo. 36 Marianne Richter (1916–2010) was a well-known textile artist who made a reputation for her carpets, long-pile rugs, and tapestries decorating many Swedish homes in the 1950s and 1960s. Many Swedish embassies throughout the world have been appointed with her works as well. In the early 1950s, she was commissioned to make the curtain for the ECOSOC Chamber at the United Nations Headquarters in New York. 37 Facts and Figures about Dialogos by Ann Edholm Material: Pure wool in two qualities, felt and crepe Size: Two pieces, each 6.95 by 14.07 metres Produced by: HV Studio at KKV, Nacka 2012 Made by: Gun Aschan and Kirsi Mattila, under supervision of Marie-Louise Sjöblom Project manager on behalf of the National Public Art Council Sweden: Lotta Mossum Project manager on behalf of the Ministry for Foreign Affairs of Sweden: Henric Råsbrant Financed by the Ministry for Foreign Affairs of Sweden and the National Public Art Council Sweden A gift from Sweden to the United Nations, 2013 Authors Margareta Bergstrand Senior Conservator at the Swedish National Heritage Board, Visby Lars Byström Chief conservator at Moderna Museet, Stockholm Magdalena Malm Director of the National Public Art Council Sweden. The Council is the state agency for art in the public realm in Sweden and creates opportunities for contemporary art to impact on public spaces through site-specific interventions and art collections. The Council also has the mission of contributing to discussion and heightening an awareness of the role art can play in the development of public space. References Bergstrand, Margareta, ‘United Nations – uniting professions? Restoring the UN Building’, Multidisciplinary Conservation: a Holistic View for Historic Interiors, ICOM-CC Interim Meeting Proceedings, Rome 2010. Beskow, Bo, Dag Hammarskjöld – Ett porträtt, Alb. Bonniers boktryckeri, Stockholm, 1968. Betsky, A., Murphy, B., The U.N. Building, Thames & Hudson, London and New York, 2005. Dudley, G.A., A Workshop for Peace: Designing the United Nations Headquarters, The MIT Press, Cambridge, Massachusetts and London, United Kingdom, 1994. Finch, K., ‘Note on the damaging effect of flameproofing on a tapestry hanging’, Studies in Conservation, 1969, pp. 132-135. Hall, Thomas, Huvudstad i omvandling – Stockholms planering och utbyggnad under 700 år, Sveriges Radio, Stockholm, 1999. Hammarskjöld, Dag (ed. Wilder Foote), Tal [Speeches], Kungl. boktryckeriet, P. A. Norstedt & Söner, Stockholm, 1962. Helperin, Silvia, Design – vad är det? Med fokus på H55, Kring Kärnan 33, Årsbok 2004, Kulturmagasinet, Helsingborgs museiförening, Helsingborg, 2004. Lindroos, B., Att vara arkitekt kan vara att…, Arkitektur förlag, Stockholm, 2008. Markelius, S., ‘ECOSOC:s rådssal i FN:s nybyggnad i New York’, Byggmästaren, 1953. Nationalencyklopedin, ‘Marianne Richter’, Malmö, 2008. Rudberg, Eva, Sven Markelius, arkitekt, Arkitektur förlag, Stockholm, 1989. Tom Sandqvist Writer and Professor of Art Theory and the History of Ideas as well as Docent in Art History Ministry for Foreign Affairs of Sweden (Carl Magnus Eriksson and Henric Råsbrant) Sandqvist, Tom (ed.), Ann Edholm: Kropp och språk, rum och bild / Body and Language, Space and Image 2001–2011, Brutus Östlings bokförlag Symposion, Stockholm/Stehag, 2012. Sandqvist, Tom (ed.), Ann Edholm – Måleriet en underbar sanning / Painting A Wonderful Truth, Raster Förlag, Stockholm, 2000. von Zweigbergk, E., Dagens Nyheter, 27 August 1952. United Nations Archives United Nations website 38 39 The National Public Art Council Sweden
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