BOKFÖRLAGET STOLPE 2020 BOKFÖRLAGET STOLPE · Xi Jinping has established an iron grip on the...

2020BOKFÖRLAGET STOLPE

2020BOKFÖRLAGET STOLPE

Bokförlaget StolpeCraftsmanship, Scholarship and Quality

Contact us for any question regarding rights or distribution.Marika StolpeCEO, [email protected]+46 70 586 07 26 Ida LarssonPublishing [email protected]+46 70 772 55 21 Cover: The Dove, No. 2. By Hilma af KlintDesign: Patric Leo

Welcome to Bokförlaget Stolpe. We produce specialist books of the very finest quality, which means we place great emphasis on design, reproduction, printing and binding, as well as high-quality scholarly content.

We offer a wide range of publications, and the subjects are often timeless.The publishing house works in close collaboration with the Swedish

foundation The Axel and Margaret Ax:son Johnson Foundation for Public Benefit. Their vision is to support individuals, ideas and projects in the humanities and social sciences. We publish books based on the foundation’s research projects, seminars and grants awarded to talented writers and scholars, and we ensure that the books are available in Sweden and around the world.

ISBN Eng: 978-91-63072-02-7. 99 illustrations. 27 x 36 cm (landscape).

220 + 48 pp of stand-alone essays. Available in English and Swedish. AUTUMN 2018

Bibliophile edition

ISBN Eng: 978-91-63972-03-4. 99 illustrations + 1 separate print. 30 x 38 cm (landscape).

220 + 48 pp of stand-alone essays. Available in English. AUTUMN 2018

The Sampans from Canton is also available in a Bibliophile edition of 49 copies signed by the Chairman of Nordstjernan, Viveca Ax:son Johnson.The limited edition consists of the book, in a silk-clad box, along with a separate print of one of the paintings in a silk-clad portfolio.

The Sampans from Canton is an award-winning book consisting of 99 Chinese gouaches from the second half of the 18th century. In minute detail, they depict an entire community afloat on the water, with the various sampan vessels used for everything from the sale of fruit and religious ceremonies to warfare and thievery.

Together, these gouaches constitute one of the largest collections of hand-painted Chinese works preserved from this period.

THE SAMPANS FROM CANTON

Kerstin Barup, Professor Emerita of Architectural Conservation and Restoration at Lund University, Sweden.

Jeremy Franks (1934–2016), Translator.Torbjörn Lodén, Professor Emeritus of

Chinese Languages and Cultures at Stockholm University, Sweden.

Svante Nordin, Professor Emeritus of History of Ideas and Learning at Lund University, Sweden.

Kenneth Nyberg, University Lecturer and Reader of History at Gothenburg University, Sweden.

Magnus Olausson, Reader, Head of Collections and Research at Nationalmuseum, Sweden.

Introduction by Kurt Almqvist, the President of Axel and Margaret Ax:son Johnson Foundation for Public Benefit.

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FohynCantons 2a sort Mandarin-Schampan/The 2nd kind of mandarin sampan

ISBN Swe: 978-91-63972-04-1. 30 illustrations. 24 x 17 cm (portrait). 80 pp. Available in Swedish. SUMMER 2019

THE CHINESE IDEAFrom Confucius to Xi Jinping

Xi Jinping has established an iron grip on the world’s most populous country, and in terms of ideas, China is also asserting itself in the world. What role do nationalism and longer historical perspectives play? In these five essays, some of Sweden’s most prominent sinologists consider the foundational ideas of China – from Confucius to today.

Rebecka Eriksson, PhD in Chinese Studies, Sweden.

Lars Peter Fredén, Former Swedish ambassador to China, Sweden.

Börje Ljunggren, Former Director of the Asian Department at the Swedish Ministry for Foreign Affairs, Sweden.

Bengt Pettersson, Sinologist and writer, Sweden.

Erik Thyselius, Journalist, Sweden. Introduction by PJ Anders Linder, Editor in Chief of the Swedish magazine Axess.

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I april 2018 höll president Xi Jinping, Kinas mäktigaste ledare sedan Mao, ett stort tal om Kina och dess roll i världen på Boao Forum for Asia – landets Davos – på ön Hainan. Kina kommer, försäkrade Xi,

att fortsätta på reformernas väg och öppna upp ekonomin än mer. Bud-skapet var ett svar på den växande kritik som landet mött för bristen på ömse sidighet i de ekonomiska relationerna med omvärlden, och på hoten om ett handelskrig. Det senare vill Kina göra allt för att undvika, utan att för den skull rädas president Trumps protektionistiska kanonader. Beske-den var dock relativt vaga, och måste följas av handling. När reformerna inleddes var Kina ett fattigt utvecklings land, nu är det globaliseringens stora vinnare – en ekonomisk supermakt med en ledande ställning i utvecklingen av framtidens teknologi.

Vid kommunistpartiets 19:e partikongress, hösten 2017, var det bärande temat att Kina under kommunistpartiets ledning var på väg att förverkliga sin pånyttfödelse och att tiden nu var inne att inta världens huvudscen. Illustrativt är att Xi direkt efter Boaomötet begav sig till Syd-kinesiska havet för att inspektera Kinas största flottmanöver någonsin.

Den dramatiska ekonomiska utvecklingen är grundvalen för denna historiska uppgång, men ekonomin är både dess styrka och akilleshäl i ett drama om partiets, statens och marknadens roller. För Xi kommer partiet och maktinnehavet först. Samtidigt är han djupt medveten om att det ligger i Kinas eget intresse att fördjupa reformerna och bryta utvecklingen mot ett nollsummespel i förhållande till omvärlden. I Xis omedelbara omgivning finns flera framstående ekonomer. Ytterst handlar det om Xis egen kluvenhet. Xi står mot Xi. Ett grundläggande dilemma är att landets inre utmaningar är långt större än vad landets uppgång ger vid handen.

En naturlig utgångspunkt för bedömningen av tillståndet i reform-processen är den ”reform och öppning” som Deng Xiao-ping inledde för fyrtio år sedan, i november 1978, två år efter Maos död. Det skulle visa sig vara början på en radikal omvandling. Kulturrevolutionen (1966–1976)

X I OCH DEN K INESISK A DRÖMMEN

Börje Ljunggren

Presidenten över allting.

3130

kolumntitel namn kolumntitel titel

“Populist” has become one of the most popular insults of our time. In this anthology, some of Sweden’s most interesting opinion makers and social scientists consider the question of what populism is, from a historical and contemporary perspective, and whether politics can ever completely relinquish populist ideas.

Is our era experiencing a genuine rise in populist ideas, in response to ever growing interest in them? If that is the case, where do these ideas have a particular impact and where do they have a hard time gaining traction? Is it possible to identify a common denominator for populist movements or can each be understood simply on its own terms?

POPULISMFrom Ancient Rome to the Present

ISBN Swe: 978-91-98523-62-1. 30 illustrations. 24 x 17 cm (portrait). 148 pp. Available in Swedish. AUTUMN 2019

Widar Andersson, Editor in Chief, Folkbladet, Sweden.

Hans-Gunnar Axberger, Professor of Constitutional Law, Sweden.

Örjan Berner, Former Swedish Ambassador, Sweden.

Torbjörn Elensky, Author, Sweden.Jörgen Huitfeldt, Journalist, Kvartal

magazine, Sweden.Magnus Jernkrok, PhD student in History,

Gothenburg University, Sweden.Janerik Larsson, Author and journalist,

Sweden.

PJ Anders Linder, CEO and Editior in Chief, Axess magazine, Sweden.

Eva Queckfeldt, PhD in History, Sweden.Peter Santesson, PhD, manager of

opinions analysis at the research agency Demoskop, Sweden.

Karin Svanborg-Sjövall: CEO of the Swedish think tank Timbro, Sweden.

Anders Sundell, PhD in Political Science, Gothenburg University, Sweden.

Anders Widfeldt, PhD in Political Science, University of Aberdeen, Scotland.

191823

Schweizaren Jean-Jacques Rousseau (1712–1778) förespråkade folksuveränitet genom ett samhällskontrakt.

DET DEMOK R ATISK A

SAMHÄLLETS FR AMVÄ XT

Magnus Jernkrok

Vetenskaplig ideologihistoria är en omöjlighet. Det hävdade den tyske sociologen Karl Mannheim (1893–1947). Skälet, som kallas Mannheims paradox, är att beskrivningar av ideologier i sig

själva är ideologiska. Liberalism betyder något för en liberal, något annat för en socialist och betyder något tredje för en konservativ. Än värre blir det att analysera ideologier vars beteckning främst tjänat som invektiv. Försök att som förment utomstående, som betraktare, avgränsa ideolo-gier stringent är uttryck för antingen mod eller dumdristighet. Således handlar denna text om populismens uppkomst under 1700-talets andra hälft och 1800-talets första decennier.

Ska man ändå ägna sig åt sådana övningar finns två tillämpbara strate-gier. Den första – och metodmässigt säkraste – är att studera de grupper som själva kallat sig populister eller benämnts som populister av andra, så kallad nominalistisk metod. Den andra är att finna eller konstruera en idealtyp av populismen och sedan passa in olika grupperingar och tän-kare i den definitionen, så kallad realistisk metod.

I nyutkomna The Oxford Handbook of Populism (2017) framgår att populist forskare prövat båda vägarna, med viss framgång. De forskare som brukat nominalistisk metod har pekat ut flera självständiga gruppe-ringar i väst: narodnikerna, en romantiserande jordbruksrörelse i Tsar-ryssland, inte helt olik den tyska Völkischrörelsen, även den utpekad som potentiellt populistisk. I Frankrike har den revanschistiske genera-len Georges Boulanger (1837–1891) blivit tillskriven beteckningen och i USA har inflationsvurmande People’s Party – med William Jennings Bryan (1860–1925) i spetsen – närmast kommit att betraktas som syno-nyma med populism. Alla dessa rörelser har det gemensamt att de hör till det sena 1800-talets massamhälle; populismen skrivs fram som en modern, postindustriell ideologi, likt socialismen eller liberalkonserva-tismen. Det är en oframkomlig väg för att studera populism på 1700-talet. 1700-talets tankevärld tillåter det inte – där finns inga självförklarande

The fear of living in the end times has a long history. In Decadence and Decay, a group of distinguished international scholars describe how societies over time have handled and interpreted the concept of decline. In times of unrest and transition, “declinism” – the notion that a culture or civilisation is headed towards irreversible decline – tends to capture the public imagination.

The essays in this volume address how notions of decadence and decay have been used both as opprobrium and as a form of self-definition and empowerment – an instrument to protect individualism against collectivistic oppression. From ancient Rome to the present, ideas and expressions of decadence and decay have played a critical role in how we perceive the world.

DECADENCE AND DECAYFrom Ancient Rome to the Present

ISBN Eng: 978-91-98523-65-2. 100 illustrations. 29 x 25 cm (portrait). 300 pp. Available in English. AUTUMN 2019

Dr Daniela Cammack , Junior Fellow, Harvard Society of Fellows, USA.

Dr Robert Coates-Stephens, Cary Fellow, British School of Rome, Italy.

Professor Saul David, Professorial Research Fellow in Military History, Humanities Research Institute, University of Buckingham, UK.

Professor Peter Heather, Medieval History, King’s College London, UK.

Mattias Hessérus, PhD, Department of History, Uppsala University. Ax:son Johnson Foundation, Sweden.

Dr Andrew Huddlestone, Department of Philosophy, Birkbeck, University of London, UK.

Dr Neil McLynn, Corpus Christi College, University of Oxford, UK.

Dr Richard Miles, Associate Professor, University of Sydney, Australia.

Professor Adam Tooze, Professor of History, Department of History, Yale University, USA.


For information about all 19 writers, please visit our website.

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the decline of rome

The Decadent Movement

was closely allied to dandyism.

Many decadent artists were

dandies or depicted dandies

in their writings. To the left:

Oscar Wilde (1854–1900).

Decadence and Dandyism

The Decadent Movement of the late nineteenth century advocated aesthetic refinement, the sublimity of beauty, and the absence of bourgeois moral-ity from art. Decadent art, literature and culture transcend the realms of ordinary existence, entering the spheres of both dreams, the unconscious, and the abnormal. This inauguration of new subject matter, styles of

narration, and modes of inspiration, has often been described as a form of escapism from a society that underwent fundamental changes: the loss of power of the aristocracy, the rise of the middle classes, the establishment of a performative presentation of the self, technological progress, and the development of cosmopolitan, urban metropolises, to name just a few.

The Decadent Movement was small, but it was also potent, radical and avant-garde. Accordingly, ‘decadence’ became a term of reproach within art criticism, applied to artists who transcended the rules of Classicism that still commanded artistic creation and public expectation. Decadent artists exploited the creative potential of decline, elevating decadence to a new literary style.

The Decadent Movement was closely allied to dandyism. Many decadent artists were dandies or depicted dandies in their writings, from Théophile Gautier and Charles Baudelaire to Joris-Karl Huysmans, Jean Lorrain and Oscar Wilde. Accord-ing to Baudelaire, the dandy emerges in ‘periods of transition, when democracy is not yet all-powerful, and aristocracy is only just beginning to totter and fall’1 – the process of cultural decline in the moment of bourgeois empowerment. Faced with an arising mass culture that implies vulgarity and a decline in beauty and taste, the dandy acts as a reactionary, desiring the preservation of the grandeur and style of pre-democratic societies. Conseqeuntly, the rise of dandyism is inextricably linked to a declining culture. The dandy is a figure of transition between ages.

Essentially, the dandy cultivates the idea of beauty and refinement to such an extent that he turns himself into a work of art. His life becomes a performance, his self a mask.

Melanie Grundmann

24 25

melanie grundmann decadence and dandyism

The demands on the modern individual involve self-alienation and heteronomy; the dandy, however, intends to be solitary and independent from duties of any kind.

Dandyism is a strategy of performance of the self that emerged in a time of change when a readily comprehensible world fell into disparities – a process that left the self irritated and in danger of dissolving. The most obvious part of dandyism, the excessive care for outward appearance, is only the first step in the creation of a structure-giving self. The dandy consolidates in order to sustain in a world of continuous change. He opts for a strategy of torpor to communicate his artificiality, which stands in strong opposi-tion to Nature as the symbol of the normal, the healthy and the morally sane. The dandy transcends into the realms of art to escape the annihilation of his subjectivity.

In the following chapter, I will focus on the dandy’s performance of artificiality. The late nineteenth-century decadent dandy is usually classified as a degenerated derivative of what has often been termed the ‘classic’ dandy2; however, the figure has been fundamentally decadent since its inception, and indeed the correlation between decadence and dandyism has been widely acknowledged. Recent studies have accord-ingly analysed dandyism as a practice of staging the self.3

I would like to suggest that the dandy’s strategy of torpor forms part of this prac-

tice and is manifested in his dress, sexuality, and manner of speech, but also finds expression in his refusal to undertake commitments of any kind. The dandy’s outer stiffness, decidedly marked by tightly laced stays and heavily starched neckcloths, is emblematic of his inner torpor.

The idea of decadence envisions a process of becoming and decline, wherein decadent society forms the latest stage of this evolution. Decadence portrays shows a highly refined, yet over-saturated society, distinguished by luxury, ennui, refinement, and idleness. The idea of dandyism originates in this cultural stage. The dandy arises only in cultures that have passed the state of mere survival. He requires an environment of leisure and consumption that provides the goods and the facilities to turn himself into a work of art.

The alliance of decadence and dandyism dates back as far as antiquity: Caesar,4 Catiline, Petronius, Elagabalus, and Alcibiades, have all been described as dandies. Alcibiades (451–404 bce), for example, has been described as the ‘arbiter elegantiarum’ of his time, marked by an inimitable and exaggerated elegance. He accessorized heavily with gold and was the inspiration for the dandy in Benjamin Disraeli’s novel Henrietta Temple (1837), Count Alcibiades de Mirabel,5 ‘the best dressed man in London’ with a passion for pleasure. Barbey d’Aurevilly underlines the importance of the antique pro-totype when he ends his seminal essay on dandyism with the conclusion that Alcibiades ‘fut le plus beau type [du dandysme] chez la plus belle des nations!’6 Petronius (14–66) was to Nero what George Brummell, the most famous of all dandies, was to George IV – a fashion adviser. In Petronius’s novel Satyrica, clothes and aesthetic objects become indicators of cultural refinement. Eccentricities, aesthetics and refined elegance define the decadent performance of the self, not only in antiquity but also throughout the ages, as one commentator on dandyism remarked in 1823:

… the insignificant tribe in question, whether under the appellation of beaux, fops, petits-maitres, dandies, or exquisites, have equally abounded in all ages. … Even those sage and philosophical people, the Greeks and Romans, were not exempt from them. … It is among the Romans, however, that we are to look for the ancient dandies in the greatest perfection.7

The innately decadent structure of the dandy is confirmed in the phrase ‘the rise and progress of the Dandy-Tribe.’8 Identifying the dandies as a tribe means equating them with the Barbarians, who introduced decadence to antique Rome and ultimately caused its fall. The great paradox is that the dandy is considered as the harbinger of decline by his opponents, whereas the dandy himself detects the world around him to be decadence-ridden already.

In strong opposition to Nature

as the symbol of the normal the

dandy communicates his

artificiality. Landscape, Italy.

The history of books and of reading is also the history of humanity, since the book market has always reflected our interests, needs and dreams. Books today face a variety of challenges, but also opportunities, as new technologies gain ever more influence.

What can the physical book trade do to survive, why this fear of Amazon and what happens to our ability to understand when we read increasingly less on paper? These are some of the questions considered in this anthology, which brings together well-known figures from the Swedish book industry and from Swedish literature studies – a contribution to an industry seemingly in constant change.

THE BOOK AND READING

ISBN Swe: 978-91-89069-00-8. 30 illustrations. 24 x 17 cm (portrait). 144 pp. Available in Swedish. AUTUMN 2019

Karl Berglund, Researcher at the Department of Literature at Uppsala University.

Simon Brouwers, Co-founder of Mondial förlag, where he works as publisher and CEO.

Elza Dunkels, Senior Lecturer (Associate Professor) at the Department of Applied Educational Science, Umeå University.

Eva Gedin, CEO of Norstedts publishers.Per I Gedin, Founder of the publishing

company Aldus, and publisher at Wahlström & Widstrand and Gedins förlag.

Carl Hamilton, author and working Board member of Piratförlaget.

Kristina Lundblad, Senior Lecturer and Associate Professor at the Division of Book History at Lund University.

Christoffer Palmer, book shop owner and publisher, and Board member of Svenska Bokhandlareföreningen.

Rustan Panday, Chairman of the Board of Storytel Sweden AB.

Ann Steiner, Researcher and teacher of literature studies as well as book history and publishing studies at Lund University.

Johan Svedjedal, Distinguished University Professor at the Department of Literature at Uppsala University.

Introduction by Kurt Almqvist, the President of Axel and Margaret Ax:son Johnson Foundation for Public Benefit and Marika Stolpe, CEO and Publisher at Bokförlaget Stolpe.

9

PAPPERSPROTEUS: K RING BOK ENS

FÖRVANDLINGAR

Johan Svedjedal

Under flera sekler vande sig västvärlden vid att se boken som den främsta permanenta bäraren av verk i alfanumerisk form, text-burna verk som rymde allt från upplysning till underhållning.

Till den vanan hörde att boken var tryckt i pappersform och bunden mellan ett par pärmar, hårda eller mjuka. Själva boken var ett fysiskt föremål i tre dimensioner, ofta med vassa kanter. Textkritikerna uttryckte fenomenet mest distinkt:

fråga: ”Vad är skillnaden mellan Hamlet som verk och Hamlet som bok?” svar: ”Det första kan du bära i minnet, det andra kan du slå någon i huvudet med”.

Vi har vant oss vid att se boken som ett distinkt ting, en bärbar textbärare. Samtidigt vet vi att boken historiskt sett har varit annat än en tryckt pap-persbok. Några sekler tillbaka fanns det bokrullar och andra material än papper, vår tid vimlar av olika slags portabla digitala textbärare. För femtio år sedan antog nog många att boken var en färdig uppfinning i den meningen att den hade hittat sin optimala form, med beståndsdelar som pärmar, inlaga i form av en bunt papper med paginering, kapitelindel-ning, innehållsförteckning och register. I den digitala tidsåldern befinner sig det mesta under förvandling. Liksom Proteus i den antika mytologin har boken visat en formidabel förmåga att ändra skepnad, att anpassa sig till nya omständigheter och dra nytta av dem.1 Och samma förmåga visar det vi kan kalla ”bokmarknaden” eller ”det litterära systemet” – alla de individer och institutioner som bär upp den bokliga kulturen. Bokmark-naden är i förändring. Systemet för bokförsäljning är i förändring. Läskulturen är i förändring.

Och, mina vänner: det litterära systemet har alltid varit det. Ändå överlever boken och bokmarknaden. Medan vi grubblar över precis hur

Författaren och översättaren Jean de Mielot under arbetet med ett manuskript i 1400-talets

Frankrike. Gravyr av Sir F Warne.

Swedish Grace is the most celebrated of all periods and styles of Swedish architecture. The Stockholm City Library, the Chapel of the Resurrection at the Woodland Cemetery outside Stockholm and the Stockholm Concert Hall are all world-famous and among the most highly regarded buildings in Sweden.

This anthology is an updated release of the sold-out Swedish Grace – The Forgotten Modern. Scholars of various nationalities discuss Swedish Grace from different angles, highlighting its contemporary relevance.

SWEDISH GRACEA Forgotten Modernism

ISBN Swe: 978-91-98523-67-6. 153 illustrations. 31 x 23 cm (portrait). 232 pp. Available in Swedish. SPRING 2020

Robert Adam, Architect, professor and one of the founders of ADAM Architecture, UK.

Javier Cenicacelaya, Professor at Universidad del País Vasco, UPV/EHU and an architect, Spain.

Peter Elmlund, Director of Urban City Research and Future of Places International Network at the Ax:son Johnson Foundation, Sweden.

Eva Eriksson, PhD in Architectural History, Sweden.

Thomas Hellquist, Professor Emeritus of Architecture and Design, Sweden.

Kristina Knauff, PhD in Architectural History, specialising in 20th century architecture, scenography and cultural history, Sweden.

Helena Kåberg, Architect and design historian and Senior Lecturer of Arts. She is also a curator at Nationalmuseum in Stockholm, Sweden.

Johan Mårtelius, Architect and Professor Emeritus of Architectural History at KTH in Stockholm, Sweden.

Luca Ortelli, Professor at EPFL, ENAC School of Architecture in Lausanne, Switzerland.

Johan Rådberg (1942–2010), PhD from KTH in Stockholm, Sweden.

Karin Winter, Architect of interior design and has been the superintendent of the main exhibition hall of Sweden’s National Centre of Architecture and Design, Sweden.

Aleksander Wolodarski, Runs his own business in architecture and urban design in Stockholm, Sweden.

Johan Örn, Historian of architecture and critic, also curator of the collections at Sweden’s National Centre of Architecture and Design, Sweden.

Introduction by Peter Elmlund, Axel and Margaret Ax:son Johnson Foundation, and Johan Mårtelius, KTH.

14 15

Mellan tradition och modernitet – Swedish Grace och arkitekturen Eva Eriksson

Det som byggdes under 1920-talet har satt karakteristiska avtryck i de svenska städerna. Det gäller inte minst huvudstaden. Många hus av stor betydelse för det moderna Stockholms identitet restes i centrum, samtidigt som bostads-

husen spreds utanför centrumområdet och industrierna flyttade längre ut. Denna pro-cess sammanföll med en period då den svenska arkitekturen stod på en höjdpunkt. Det var ett årtionde som dominerades av vad som numera kommit att kallas Swedish Grace.

Vad innebär då denna term? Den står för den klassicerande formgivning som ut-vecklades under 1910-talet och dominerade fram till början av 1930-talet. Termen myntades ursprungligen med hänsyftning till den svenska konstindustrins framgångar på världsutställningen i Paris 1925.1 På grund av sin dominans under 1920-talet har motsvarande formuttryck inom arkitekturen rätt och slätt kommit att kallas tjugotals-klassicism. Även beteckningen nordisk klassicism har förekommit, eftersom samma tendens också gällde de övriga nordiska länderna. Men det är viktigt att poängtera att det inte var fråga om nyklassicism i allmän mening, utan om en mer specifik tolkning av det klassiska arvet som utvecklades i dessa länder under just den här perioden. Att Swedish Grace har lanserats som en sammanfattande benämning hänger nog ihop med att man velat ringa in några av särdragen i periodens svenska formgivning. Men med sin koppling till konstindustri och design är termen egentligen inte helt adekvat för arkitek-turen med dess annorlunda förutsättningar. Därför kan det vara på plats med en sär-skild introduktion till periodens arkitektur.

Ursprunget till Swedish Grace kan spåras till tiden omkring sekelskiftet 1900. Den pågående industrialiseringen av hela samhället fick under 1900-talets tre första decen-nier en stark effekt på städernas fysiska struktur. Elektrifiering och rationalisering av industriproduktionen spreds över landet. På gatorna ökade tempot genom ett växande antal bilar vid sidan av spårvagnar och hästkärror. I Stockholm uppstod allt värre tra-fikstockningar på strategiska punkter. Neonljuset förändrade stadsbilden och nya bio-grafer bidrog till ett livligare stadsliv om kvällarna. Moderniteten var starkt närvarande i det dagliga livet och blev ännu mer påträngande för varje år under 1920-talet.

Allt detta gav tidens arkitekter nya förutsättningar för sin yrkesverksamhet. Det innebar också en nyorientering inom professionen när två generationer arkitekter sökte nya redskap för att ge form åt det moderna samhällets snabbt växande städer. Av tidens debatt att döma måste det också ha känts som ett engagerande historiskt skede. Samhällets nya behov gav upphov till ett rikt spektrum av meningsfulla uppdrag. Då- tidens utbildning och studieresor hade gett arkitekterna en rik kunskap om arkitektur från olika historiska epoker, men många nya uppdrag saknade motsvarighet i historien. I denna unika period mellan äldre hantverkskultur och modern industriproduktion såg tio- och tjugotalets arkitekter framåt och bakåt på samma gång. Framåt för att möta

Stockholms stadsbibliotek (1920–1928) av Gunnar Asplund. Entrén mot portiken och trapporna till den spatiösa rotundan.

30 31

ISBN Swe: 978-91-89069-03-9. 130 illustrations. 30.5 x 24 cm (portrait). 200 pp. Available in Swedish. SPRING 2020

Over the centuries, wallpaper has been one of our most important wall decorations. Attitudes to wallpaper have changed over time, especially in recent decades. However, today there is a strong and growing interest in wallpaper and the historic preservation of buildings.

As the first stand-alone volume in a series on the Engelsberg World Heritage Site, this book provides an understanding of the history of wallpaper. Through numerous illustrations, both historical and modern, various experts in the field provide us with an in-depth look into wallpaper, both as a craft and as an expression of different decorative ideals.

WALLPAPERS THROUGH TIMESPerspectives from the

Engelsberg World Heritage Site

Maria Björkroth, Antiquarian at Dalarna Museum in Falun, Sweden.

Stina Odlinder Haubo, Writer with a Bachelor of Arts, Sweden.

Sara Lundström, Designer, craftsperson and pedagogue, Sweden.

Martin Olin, Senior Lecturer and Head of Research at Nationalmuseum in Stockholm, Sweden.

Mats Qwarfordt, Constructor of wallpapers, Sweden.

Lars Sjöberg, Art historian, sculptor, graphic artist, writer and former curator at Nationalmuseum, Sweden.

Ursula Sjöberg, Art historian who wrote her dissertation on the architect C.C. Gjörwell, Sweden.

Svante Helmbaek Tirén, Writer and curator, specialising in architectural and decorational history, Sweden.

Erika Åberg, Building antiquarian who studied at the Colleges of Gotland and Gävle, Sweden.


129128

Tapeter är mer än bara yta – de är ett ämne som omfattar allt från hantverkstradition till industrihistoria. För flera hundra år sedan, då tapeter var textila, användes de som värmeisolering men när vi kommer fram till 1900-talet behövs den funktionen inte längre. Där- emot är tapeter fortfarande bärare av kulturella yttringar. De ger en

fingervisning om hur människor har uttryckt sin tillhörighet och hur de har kommunicerat denna genom arkitektur och inredning. Vid interiör re staurering är det därför intressant att se vad tapeterna kan berätta.

Tapetmönster finns överallt omkring oss. Förutom att de kan sitta kvar på rummens väggar är det inte ovanligt att hitta rester från tapeter eller bårder i garderober, klädkammare, inne i skåp och på kattvindar. Det kan antingen be-tyda att det angränsande rummet har varit tapetserat på det viset, eller att tapet stycken och bårdlängder blivit över vid tapetseringen av andra rum i hu-set och i stället för att slängas satts upp i ett biutrymme. Det här är ett viktigt och intressant källmaterial som bör bevaras på plats. Att tapetsera med rest-bitar i sekundärutrymmen är en sed som försvann någon gång i slutet av 1900-talet men som skulle vinna på att återupptas.

Efter en period under 2000-talet, då vitmålade väggar har varit en inred-ningstrend med ”ljust och fräscht” som ideal, är det uppfriskande att se att in-tresset för mörka, färgrika och mönstrade tapeter har vaknat. Det ger goda möjligheter att öka kunskapen om historiska tapetmönster och skapa intresse för dem.

(

Med utgångspunkt från ett utpräglat jugendhus byggt 1906 i Stenstorp utanför Skövde vill jag beskriva några av de metoder och restaureringsideologiska förhållningssätt som kan användas när ett rum i ett kulturhistoriskt intressant hus ska tapetseras om. Anledningen till att jag som byggnadsantikvarie anlita-des var inspelningen av tv-programmet ”Det sitter i väggarna” år 2017 – detta arbete skulle nämligen ske under ledning av antikvarisk kompetens.

Huset i Stenstorp är en friliggande trävilla och har en säregen arkitektur med stora, organiskt formade jugendfönster och en påkostad glasveranda. Förutom en välbevarad och pampig hall med dekorationsmåleri fanns få bevarade yt-skikt i huset. Men inne i ett litet förråd på övervåningen fanns en hel kollektion

1900-talets tapeter Ett restaureringsideologiskt förhållningssätt

E R I KA ÅB E RG

Att hitta lager på lager av gamla tapeter väcker många frågor om restaurering och

historieberättande. Även 1900-talets tapeter är viktiga

delar i förståelsen av både samhällsutveckling och

inredningsmoden.

168 169

Knowledge and Information. ISBN Eng: 978-91-98523-71-3 90 illustrations. 24 x 17 cm (portrait). 352 pp. Available in English and Swedish. SUMMER 2019

The Swedish Success Story. ISBN Eng: 978-91-98523-74-4 98 illustrations. 24 x 17 cm (portrait). 376 pp. Available in English and Swedish. SUMMER 2019

The Return of Geopolitics. ISBN Eng: 978-91-98523-61-4 82 illustrations. 24 x 17 cm (portrait). 320 pp. Available in English and Swedish. SUMMER 2019

The internationally renowned Engelsberg Seminar takes place every summer in Engelsberg, Sweden, with the participation of internationally distinguished public intellectuals, scholars and politicians. They address the most pressing issues of our time, such as Religion, Knowledge and Information, Russia and World Order. The Engelsberg Seminar has been labelled “the most intellectually stimulating conference in Europe”.

Each volume presents the most interesting and knowledgeable perspectives of today’s intellectuals, scholars and thinkers, considering each topic with a view to the past, the present and our common future. Each volume is published in both Swedish and English with a limited run of 25 copies and is hand-bound by Leonard Gustafsson Bookbindery. The cover is made out of goatskin and handmade marbled paper from England. The title is gilt-stamped on the spine. The Engelsberg Series is available for sale only through the publishing house.

THE ENGELSBERG SERIES

The following titles will be released:

Religion Past and Present Nation, State and Empire War Civilisation Politics and Ideology On Capitalism On the Idea of America On Russia The Secular State and Society What is the West? The Future of Religion Towards a Cosmopolitan Culture? Consciousness, Genetics and Society Empire and the Future World Order Media and Media Power Visions of the Future The Pursuit of Europe

15

Thomas Alva Edison (1847–1931) with his “Edison Effect” lamps.

YOU A R E NOT AS CL EV ER AS YOU THINK

Mark Pagel

Human beings are the only species with a history. In the brief span of our existence (roughly the last 200,000 years of the 3.75 bil-lion-year history of life on Earth), we have gone from being a

species that made just a few simple hand-axes to one that now enjoys soaring cathedrals and breathtaking art, that can make spaceships, smart phones and driverless cars, and which is capable, Prometheus-like, of manipulating its own genetic code. Contrast this with our wretched cous-ins the chimpanzees who, while sharing with us over 98 per cent identity in the sequences of our genes, still sit on the forest floor cracking nuts with the same old stones as they have for millions of years. In fact, for all spe-cies but our own, history really is, as the English historian Arnold Toyn-bee once remarked “just one damn thing after another”, and in the case of chimpanzees the same one thing at that.

Why this difference? Why do humans accumulate ideas, knowledge and technologies while the other animals are seemingly stuck doing the same thing over and over, never really getting any better? The chimpan-zees tell us that the answer must be small in genetic terms but at the same time capable of opening up an unbridgeable gap in our evolutionary potentials.

é

It is a particular human conceit that the usual answer we give to this ques-tion is that we are simply cleverer than the other animals; that if we just think hard about something, we will eventually figure it out. Call this the “insight” view of our abilities at innovation. It predicts that our raw wit and ingenuity will produce great leaps in the technological timeline, recording moments of innovation when humanity jumps up a step – or even two – on the technological ladder. It is the view of creativity captured by the “thought-bubble” image of a lightbulb flashing on inside your head.

Jane Jacobs (1916–2006) gained international recognition with her ground-breaking book The Death and Life of Great American Cities and became a prominent political activist. But despite early worldwide attention, she remains unknown to many. Jacobs’ written work has unusual breadth to it, with eight books ranging from economics and ecology to politics and social philosophy, taking on the whole mystery of society.

In this anthology, 13 writers consider unique aspects of Jacobs, reassessing her work in the context of our contemporary reality.

ESSAYS ON JANE JACOBS

ISBN Eng: 978-91-98523-69-0. 30 illustrations. 22,5 x 16 cm (portrait). 300 pp. Available in English. SPRING 2020

Ola Andersson, Architect and partner in the firm Andersson Arfwedson arkitekter AB, Sweden.

Vania Ceccato, Professor at the Department of Urban Planning and Environment, School of Architecture and the Built Environment, KTH Royal Institute of Technology in Stockholm, Sweden.

Peter Elmlund, Director of Urban City Research and Future of Places International Network at The Axel and Margaret Ax:son Johnson Foundation in Stockholm, Sweden.

Jill L Grant, Professor Emerita in planning at Dalhousie University in Halifax, Canada.

Tigran Haas, Associate Professor focusing on Urban Planning and Design and Sustainable City Development at the School of Architecture and the Built Environment at KTH, Sweden.

Ebba Högström, Researcher, teacher and architect, Sweden.

Peter L Laurence, Associate Professor of Architecture at the Clemson University School of Architecture in Clemson, South Carolina, USA.

Michael W Mehaffy, Writer and guest researcher at the Centre for the Future of Places (CFP) of KTH, Sweden.

Jesper Meijling, Researcher, writer and architect. He works in the Department of Historical Studies and the Department of Urban and Regional Studies at KTH, Sweden.

Eva Minoura, Doctor of Technology in town planning, Sweden.

Saskia Sassen, Professor of Sociology at Columbia University in New York, USA.

Per Svensson, Political editor of the Swedish daily Dagens Nyheter and a writer, Sweden.

Catharina Thörn, Sociologist and Lecturer in cultural studies at the University of Gothenburg, Sweden.

Introduction by Jesper Meijling and Tigran Haas.

9392

CHAPTER IV

The Political JacobsPer Svensson

jane jacobs grew up in Scranton, Pennsylvania. Her father was a doctor, her mother a teacher and a nurse. The family lived in a house with a veranda, which Jacobs would talk about for many years with warmth and affection.

Scranton was an industrial town that lived on its coal mines. When Jacobs was born, in 1916, it had a population of over 100,000. The big expansion had taken place in the second half of the 19th century when a large number of immigrants went to the town to work in the mines: Italians, Poles, Irish. In the child’s eyes, Scranton was an exciting, teeming place. In an interview for the Canadian literary magazine Brick, in the early 21st century, Jacobs claimed that she had enjoyed going to the dentist as a child because it meant that she got to go “downtown”.

You can never get away from your childhood. For Jacobs it was per-haps natural in later life that she saw the big city as an idyll, and that, when she moved to the global metropolis of New York, she literally took the veranda with her.

Is she nostalgic or a visionary, a reactionary or a radical, a romantic or a clear-sighted analyst, left wing or right wing? It has sometimes been claimed that Jacobs is difficult to place in political terms. On one level that is a strange assertion. You do not need to read much of her work or her story to recognise her as a bona fide liberal – that is, in the classical sense: not a conservative, not a socialist.

For her it is the diversity, the differences it contains that make the city the beating heart of history. Here she shares her views with classi-cal liberals. Diversity is both the means and the end in the liberal tradi-tion. John Stuart Mill’s most famous work, On Liberty, from 1859, has a

Jane Jacobs attends a boycott at a

public school, New York City, 1964.

Next pages: Jane Jacobs grew up in

Scranton, Pennsylvania, the

centre of a seething industrial district with

ironworks, steelworks and

coal mines.

94 95

ISBN Eng: 978-91-98523-68-3. 30 illustrations. 22,5 x 16 cm (portrait). 136 pp. Available in English. AUTUMN 2019

When summer arrives, tourists replace the city’s usual residents, who instead flock to the countryside. But more and more people are moving to – or closer to – big cities, and they no longer work the land. At the same time, we are still as dependent on what the countryside has to offer in terms of food. What role will our rural designs and the cultivation of organic food play in the future?

New Ruralism and Rural Agrarian Urbanism may provide solutions to these challenges.

This book, with contributions from leading experts in the field, addresses issues such as sustainable food production and community planning.

RURAL URBANISM

Randall Arendt, Landscape planner, Senior Conservation Advisor at the Natural Lands Trust in Media, Pennsylvania, USA.

Andrés Duany, Principal of Duany Plater Zyberk & Company (DPZ) and Co-Founder of Congress for New Urbanism (CNU), USA.

Peter Elmlund, Director of Urban City Research and Future of Places International Network at the Ax:son Johnson Foundation in Stockholm, Sweden.

Tigran Haas, Associate Professor focusing on Urban Planning and Design and Sustainable City Development at the School of Architecture and the Built Environment at KTH, Sweden.

Sibella Kraus, President of SAGE (Sustainable Agriculture Education), a nonprofit supporting regional food systems and multicultural agriculture, USA.

James Howard Kunstler, Social critic, public speaker, blogger, and writer, USA.

Thomas Melin, Strategic Relationship Manager at Mistra Urban Futures, Sweden.

Susan Parham, Head of Urbanism at the University of Hertfordshire’s Centre for Sustainable Communities, UK.

Elizabeth Plater-Zyberk, Co-founder of Arquitectonica and Principal of DPZ, USA.

Cecilia Tacoli, Principal researcher, Human Settlements; team leader, rural-urban issues at the International Institute for Environment and Development, UK.

Charles Waldheim, Architect and urbanist who examines the relations between landscape, ecology, and contemporary urbanism, USA.

Introduction by Peter Elmlund and Tigran Haas.

1312

Urban-Rural Linkage at the Global LevelBy Thomas Melin

city life can be grim for Isaac Mwelu, a 27-year-old Kenyan taxi driver who moved to Nairobi from the town of Kakamega, located in the rural upcountry of Kenya. Although Isaac has lived in Nairobi for more than 10 years – now owning his own taxi, which services the middle/upper class demographics in Nairobi’s Westland Estates – Isaac does not consider himself to be a permanent resident of the capital city. When asked where home is, he refers to Kakamega – after all, this is the place where he was raised, the place where his parents own a small plot of land, and the place where he sends weekly remittances to his wife Wambui and his two children to make instalments on the even smaller plot of land purchased from his father some years ago. Isaac moved to Nairobi when he grew frustrated with the uncertainty of farming maize and the weather fluctuations that unpredictably jeopardised his family’s crops. “For me, moving to Nairobi was a sacrifice, as the traf-fic is always busy, the people are untrustworthy and the living is cramped – my only time off is to sleep and to go to church on Sundays, but at least the money is better in Nairobi,” he says. Isaac is part of a large demographic of migrants living in Nairobi – approximately 80 per cent of Nairobi’s residents aged 25-29 are migrants, half of whom came to Nairobi between the ages of 17 and 23 looking for economic opportunity.

Innovations in telecommunications have made the transfer of remittances to the countryside easier for migrants living far from their families, previously a risky endeavour. MPesa is a service provided by Safaricom, one of Kenya’s largest telecommunication providers. A migrant can now send small and large sums of money – loaded on his or her phone – via an instant message to a friend or family member

The Flamengo neighbourhood in

Rio de Janeiro.

URBA N - RUR A L L INK AGE AT THE GLO BA L L E V E L

16 17

TH O M A S ME L IN

matters through more efficient service delivery, education and family planning. That being said, the rural counterpart still has a strong role to play – the insurmountable challenge of feeding the growing urban populations will continue to be tackled, primarily, in the countryside. Without adequate acceptance of this – and the proper physical and social linkages between rural and urban – cities will not be able to feed their growing populations. The urban-rural nexus, therefore, needs to be considered in the urban debates taking place at the highest levels.

Furthermore, another myth that needs to be addressed is the belief that many policy makers view rural to urban migration as a ‘round-trip’ affair (as for instance in the Chinese hukou system). However, in developing countries, most rural to urban migration is permanent (as appears to be the case for Isaac in the aforementioned story). Systems and policies need to be designed with the support of adequate data and a stronger understanding of the behavioural patterns of migrants in order to develop policies and frameworks that integrate these new members into the urban population, thus leading to inclusive and efficient growth.

é

It is now widely recognised that there exists an economic, social and environmental interdependence between urban and rural areas and a need for a balanced and mutually supportive approach to development of the two areas. The discrete consideration of rural development as completely distinct from urban development is no longer valid. A new perspective, referred to as “rural-urban linkages”, is increasingly becoming the accepted approach. Rural-urban linkage generally refers to the growing flow of public and private capital, people and goods between urban and rural areas. It is important to add to these the flow of ideas, information and the diffusion of innovation.

Adequate infrastructure such as transportation, communication, energy and basic services is the backbone of urban-rural linkages. There is a positive relationship between adequacy of transportation infrastructure, ease of mobility and access to employment/enhance-ment of income. Adequate investments in infrastructure, particularly transportation infrastructure, also improve rural productivity and

allow access to markets, jobs and public services for both men and women.

Economic change is at the heart of development and the evolving dynamics of urbanisation – agricultural, industrialisation, manufac-turing and service-oriented business. Professor Vernon Henderson of the London School of Economics has argued that, as economic devel-opment occurred, the various phases of production (what was being produced, how it was being produced and where it was being produced) went through a transformation that changed the global landscape of development forever; these changes called for new types of cities. Today, many of the cities in the North are mature in their genetic make-up; however, nearly all of the cities of the South are still going through the transformative changes from agriculture to industrialisa-tion. In the agrarian settings, the basic productive units are agricul-tural households, whereby economic activity is scattered across the countryside. However, in industrialised settings, the productive units are enterprises, which benefit from agglomeration, specialisation and economies of scale found in large urban centres. As the agriculture to industrialisation shift occurs, migrants move from the countryside to the cities to access larger job markets. Initially, new migrants to cities

Campesinos gather at the Zocalo in

front of the National Palace in

Mexico City in 2014 to highlight

issues of rural poverty.

ISBN Eng: 978-91-63972-03-4. 60 illustrations. 29 x 23 cm (portrait). 128 pp. Available in English and Swedish. AUTUMN 2019

Hilma af Klint’s works have taken the international art world by storm, more than one hundred years after they were created. Around the turn of the 20th century, the new spiritual and social movements of theosophy and later anthroposophy came to inspire the pioneers of modernism and abstract art – Kandinsky, Mondrian, Malevich – and Hilma af Klint. What was the zeitgeist that inspired such an artistic explosion?

This anthology is based on a seminar held at the Solomon R. Guggenheim Museum in New York at the opening of its highly-acclaimed exhibition Hilma af Klint: Paintings for the Future in October 2018.

HILMA AF KLINTVisionary

Tracey Bashkoff, Senior Director of Collections and Senior Curator at the Salomon R. Guggenheim Museum, New York, USA.

Daniel Birnbaum, Artistic director of Acute Art, London. Former roles include Director of Moderna Museet in Stockholm, Sweden.

Linda Dalrymple Henderson, the David Bruton Jr. Centennial Professor in Art History and Distinguished Teaching Professor at the University of Texas at Austin, USA.

Isaac Lubelsky, has studied at the School of History, Tel Aviv University, where he received his PhD in 2005, Israel.

Marco Pasi, Associate Professor in the History of Hermetic Philosophy and Related Currents at the University of Amsterdam, The Netherlands.

Julia Voss has studied German Literature, Philosophy and Art History in Freiburg, London and Berlin. In early 2020 her biography on Hilma af Klint, Die Menschheit in Erstaunen versetzen, was published in Germany.

Introduction by Kurt Almqvist, the President of Axel and Margaret Ax:son Johnson Foundation for Public Benefit, and Louise Belfrage, Project Manager at the Foundation.

21

Five Things to Know About Hilma af Klint Julia Voss

One of the key events in the life of Swedish artist Hilma af Klint happened on a day whose date is lost to history. We only know that it was in the early 1930s, and af Klint was almost seventy years old. To summarise the event simply: she destroyed many of her original notebooks. Other details remain speculative. Did she burn them? Rip them apart? Cast them into Lake Mälaren, where she had her studio, on the island of Munsö? Was she alone, or did someone try to stop her?

The act could have been performed in many different ways. Perhaps it was the result of a sudden decision, hurried and impulsive, amidst a tornado of papers. But the opposite is quite possible too: those who knew the artist described her as sober, reserved, eventempered, and friendly. She was not prone to emotional outbursts. Thus, af Klint probably pursued this act of destruction in a planned and cool manner. She copied passages of the notebooks she considered important. The rest was sent into oblivion.

This is what we have to keep in mind: af Klint was the editor and publisher of her own archive. The readership for whom her work was destined was not yet born. She created work for a future in which her own present would be long gone. She left behind more than 1,000 works of art and around 13,000 pages of text.

Who is this woman? In this essay I will try to answer this question as succinctly as I can. The following will contain a lot of new research on af Klint. Things that have not been known before, but things, I believe, one should know about the artist.

1. Hilma af Klint painted – and exhibited – some of the most original abstract works of the 20th century.

Hilma af Klint’s evolution as a painter of abstract works starts in 1906. She is forty four years old. She lives in Stockholm, and shares an art studio in the artistic centre of Sweden’s capital. She is unmarried, and has no intention of changing this.

For decades she has listened to voices and seen visions. Now she starts with a series of notebook sketches. Next, she transfers them to canvas. This first series she titles Primordial Chaos, and she restricts herself to the colours blue, yellow and green. In the

Hilma af Klint, The Ten Largest,

No. 7, Adulthood, Group IV, 1907.

Following pages: Hilma af Klint,

The Ten Largest, No. 1, Childhood,

Group IV, 1907.

Hilma af Klint, The Ten Largest,

No. 3, Youth, Group IV, 1907.

ISBN Eng: 978-91-89069-18-3. 95 illustrations. 29 x 23 cm (portrait). 152 pp. Available in English and Swedish. SPRING 2020

This volume presents seven series of works by the pioneering artist Hilma af Klint. They were all created in the first half of the year 1920, and are the last paintings af Klint made before turning to watercolour and adopting a recognisable style of painting taught by Rudolf Steiner and his disciples.

The anthology is based on a seminar held at the Goethe-Institut London in conjunction with the exhibition Hilma af Klint: Painting the Unseen, which took place at the Serpentine Galleries during the spring of 2016.

HILMA AF KLINT Seeing is Believing

Daniel Birnbaum, Artistic Director of Acute Art, London, UK. Former roles include Director of Moderna Museet in Stockholm, Sweden.

Briony Fer, Professor of History of Art at University College London, UK.

Branden W. Joseph, is the Frank Gallipoli Professor of Modern and Contemporary Art in the Department of Art History and Archaeology at Columbia University, USA.

David Lomas, Professor of Art History at the University of Manchester, UK.

Hans Ulrich Obrist, Artistic Director of the Serpentine Galleries, London, UK.


ISBN Eng: 978-91-89069-17-6. 100 illustrations. 29 x 23 cm (portrait). 320 pp. Available in English and Swedish. SPRING 2020

In the most exhaustive book on Hilma af Klint ever published, as many as 20 specialists in modern art, art history, and the history of ideas and religious studies use their expertise to capture af Klint’s unique artistry.

The topics range from early abstract art, the impact of Darwinism and Goethe’s Colour Theory, to the importance of occult religious movements such as Theosophy and Anthroposophy, which influenced the early modernists, to Hilma af Klint’s own personal diary notes and research.

The book is based on seminars held in conjunction with the extremely successful exhibition Hilma af Klint – A Pioneer of Abstraction in 2013 at Moderna Museet in Stockholm.

HILMA AF KLINTThe Art of Seeing the Invisible

Tessel M. Baudin, PhD in Arts, University of Amsterdam, The Netherlands.

Marty Bax, PhD, Director of Bax Art Concepts, The Netherlands.

Daniel Birnbaum, Artistic director of Acute Art, London, UK. Former roles include Director of Moderna Museet in Stockholm, Sweden.

Briony Fer, Professor of History of Art at University College London, UK.

Wouter J. Hanegraaff, Professor of History of Hermetic Philosophy and Related Currents, University of Amsterdam, The Netherlands.

Stephen Kern, PhD in History, Humanities fellow of the John Simon Guggenheim Foundation, USA.

Gary Lachman, Author and Lecturer, USA.

Marco Pasi, Associate Professor of History of Hermetic Philosophy and Related Currents, University of Amsterdam, The Netherlands.

Gertrud Sandqvist, Professor of Art Theory and the History of Ideas, and Principal of Malmö Art Academy, Sweden.

Helmut Zander, Professor of Religious Studies in the Faculty for Catholic Theology at the University of Fribourg, Switzerland.


For more information about all 20 writers, please visit our website.

Not all artist oeuvre can, will or deserves to be collected in a CATALOGUE RAISONNÉ. But Hilma af Klint’s (1862–1944) work as an artist not only deserves this – it demands it, as was intended. The work should be seen and appreciated in the series of paintings often depicting specific themes, such as evolution and the Dual (the syzygy: male and female). Hilma af Klint was a pioneer of art who made a turn away from visible and towards spiritual reality.

The catalogue raisonné, divided into seven volumes, can also be seen as a historical documentation of the artist’s spiritual development and of one of Sweden’s most fascinating collections of artistic output. The works, some 1,600 in all, are printed in an exclusive edition designed by Patric Leo and produced with the permission of the Hilma af Klint Foundation. The books feature introductions by Daniel Birnbaum and Kurt Almqvist. A separate slipcase containing the seven volumes will be available in autumn 2021.

Kurt Almqvist, the President of Axel and Margaret Ax:son Johnson Foundation for Public Benefit.

Daniel Birnbaum, Artistic director of Acute Art, London, UK. Former roles include Director of Moderna Museet in Stockholm, Sweden.


This is the best known of Hilma af Klint’s series of works. These mostly abstract paintings, including The Ten Largest, came to the artist mediumisti–cally in this period. The idea was to convey knowledge about the unity of all existence.

THE PAINTINGS FOR THE TEMPLE (1906–1915)


Sketchbooks for Hilma af Klint’s The Paintings for the Temple. The artist travelled with these books in order to show the world her creations in a more accessible format.

THE BLUE BOOKS (1906–1915)

ISBN Eng: 978-91-89069-23-7. Approx. 350 illustrations. 31 x 24 cm (portrait). 220 pp. Available in English. AUTUMN 2020

The abstraction in Hilma af Klint’s pictures did not develop overnight; it was a process in which a group of female friends, The Five, played a major role. Inspired by nature, the group received messages from a medium to broadcast to humanity through pictures.

SPIRITISTIC DRAWINGS (1896–1905)

ISBN Eng: 978-91-89069-25-1. Approx. 212 illustrations. 31 x 24 cm (portrait). 224 pp. Available in English. SPRING 2021

In her two series Parsifal and the Atom Hilma af Klint attempted to understand the messages she had received earlier. In Parsifal she explored her inward self through the journey of a boy and a girl and their various levels of consciousness. In the Atom series, af Klint explored the inner parts of our existence through what scientists then considered the smallest particles in the world.

PARSIFAL AND THE ATOM (1916–1917)


Throughout her life, Hilma af Klint used research-oriented methods, trying to understand the spiritual contexts of the world. She investigated plants and other objects in their geometrical form. Nature was perfect; we humans just needed to look at it more closely.

GEOMETRICAL STUDIES AND OTHER WORKS (1916–1920)


After her mother’s death in 1920, Hilma af Klint gave up her geometrical works and began to paint with watercolours, as in the series On the Viewing of Flowers and Trees, from 1922.

LATE WATERCOLOURS (1922–1941)

ISBN Eng: 978-91-89069-28-2. Number of illustrations and pages not determined. 31 x 24 cm (portrait). AUTUMN 2021

This volume shows Hilma af Klint’s splendour as a painter of landscapes, portraits and botanical works. The total number of illustrations in this book is still not determined since many of these works were sold to private buyers. In early 2020, the publishing house is conducting a search to find further works.

LANDSCAPES, PORTRAITS AND BOTANICAL WORKS (1886–1940)

In Japan, the study of nihonjinron became popular after the Second World War in an attempt to explain the uniqueness of the country’s culture and character. Some of the essays in this volume deal with these issues and explore aspects of the Japanese quest for a national identity. Today Japan is one of the world’s largest economies, but it is facing enormous challenges on a social, cultural, financial and political level.

These challenges are highlighted and analysed in this book through themes and topics from Japanese history: identity, architecture, religion, manga, Christianity in Japan, the Samurais and many other subjects.

JAPAN’S PAST AND PRESENT

ISBN Eng: 978-91-639-7205-8. 155 illustrations. 24 x 17 cm (portrait). 569 pp. Available in English. SPRING 2020

Elisabet Yanagisawa Avén, Doctoral Student, University of Gothenburg, Sweden.

Oleg Benesch, Senior Lecturer (Assistant Professor), East Asian History, University of York, UK.

Natasha Bennett, Curator of Oriental Collections, Royal Armouries, UK.

John Breen, Professor, International Research Center for Japanese Studies, Kyoto, Japan.

Roger Goodman, Nissan Professor of Modern Japanese Studies and Warden of St Antony’s College, University of Oxford, UK.

Anne E. Imamura , Professor, Dept. of Sociology, Georgetown University, USA.

James E. Ketelaar, Professor of Japanese History, University of Chicago, USA.

John Lie, Professor of Sociology, University of California, USA.

Inken Prohl, Professor, Institute of Religious Studies, Heidelberg University, Germany.

M. Antoni J. Ucerler, S.J., Director, Ricci Institute of Chinese-Western Cultural History; Associate Professor of East Asian Studies, University of San Francisco, USA.

Anne Walthall, Professor Emerita of Japanese History, University of California, USA.

Mark Williams, Professor of Psychology, Director of the Oxford Mindfulness Centre, University of Oxford, UK.

Kosaku Yoshino (1953–2018), Professor, Department of Sociology, Sophia University, Japan.


For information about all 29 writers, please visit our website.

16

kosaku yoshino

Man influenced by the West.

Next pages: Japanese schoolchildren.

looking” and “inward looking” periods have alternated. By this it is meant that the actively open attitude to the outside world has been followed by the actively conscious marking of the symbolic boundary of “our Japa-nese realm” – a source of Japanese identity – in which intellectuals have engaged.

Japanese distinctiveness is a theme that has periodically concerned intellectuals in modern Japan. Following the first two decades of West-ernisation in the Meiji period (which began in 1868), the next two decades witnessed intellectuals showing a strong interest in exploring indigenous and distinctively Japanese ideas. This led to the kokusui hozon [preserva-tion of the national essence] movement. By the turn of the century, emphasis on Japanese distinctiveness took on a more active tone, reflect-ing the mood of the victorious nation after the SinoJapanese War (1894–95). The nationalist ideology, called nihonshugi [ Japanism], not merely rejected foreign religions and values and advocated the worship of impe-rial ancestors, but also urged the people to enhance national solidarity and to honour the military. The period following Japan’s victory in the RussoJapanese War (1904–05) was characterised by a desire to rationalise the nation’s greatness rather than by a mere search for its uniqueness. Notions such as bushidōō [the way of samurai] and kokutai [unity of the Japanese people centred on the imperial family] were emphasised. The ways in which Japanese intellectuals interpreted the nation’s uniqueness thus varied from one historical period to another. Such shifts are reflected in changes in the editorial content of the leading nationalist journal Nihonjin [The Japanese]. Prior to the SinoJapanese War, this journal rep-resented the views of the “preservation of the national essence”. Before and during the RussoJapanese War, it reflected the views of Japanism. In 1907, the journal changed its name to Nihon oyobi Nihonjin [ Japan and the Japanese] and adopted a new editorial policy which stressed spiritual superiority, but assumed a more tolerant attitude towards foreign ideas and institutions, reflecting the relatively peaceful and prosperous mood of the nation. The late 1930s and early 1940s saw another boom in national character literature, this time called nihongaku [study of Japan], reassert-ing Japanese uniqueness and greatness.2

Following Japan’s defeat in 1945, a massive wave of Americanisation and modernisation swept over the country. Towards the end of the 1960s, Japanese intellectuals began to engage in discourses on the distinctive-ness of Japanese society and culture, generally referred to as nihonjinron:

15

“The End of Negotiations”: 1904 French political cartoon

about the Russo-Japanese War.

CULT UR A L NATIONA L ISM IN JA PA N

Kosaku Yoshino

Cultural nationalism aims to regenerate a national community by creating, preserving or strengthening cultural identity when it is felt to be lacking, inadequate or threatened. It is concerned with

the distinctiveness of a nation as a cultural and historical community. This essay addresses the case of contemporary Japan. Cultural national-ism works differently for different groups and different individuals, and diverse processes are at work in forming the phenomenon. The essay, therefore, does not aim to furnish an overview of contemporary Japanese cultural nationalism. Rather, a focus will be set on one of its processes, that is, the “intellectualisation of culture”, to borrow the phrase used by sociologists Gerard Delanty and Patrick O’Mahony.1

The intellectualisation of culture consists of two phases. Or, rather, it is generally performed by two types of intellectuals: “productive” intellec-tuals, who produce or formulate ideas of a nation’s cultural identity, and “reproductive” intellectuals who reproduce and disseminate such ideas by relating them to their own social, economic and political or other interests and activities. Most scholars of cultural nationalism are only interested in the first aspect and neglect the second. I argue that it is both necessary and important to enquire sociologically into the manner in which ideas of national distinctiveness get disseminated among wider sections of the population.

This essay first takes a brief look at the historical patterns of the intel-lectualisation of culture or, to be more specific, national cultural dis-tinctiveness. Secondly, it focuses on discourses on Japanese dis tinctiveness that developed after 1945. Such discourses are generally referred to as nihonjinron. The essay looks into changes and continuities between the “old” nihonjinron of the 1970s and 1980s and the “new” nihonjinron of the 2010s.

In the modern history of Japan, the intellectualisation of culture or of national cultural distinctiveness has appeared periodically. The “outward

This anthology explores how architecture, urban design and trade historically and today have contributed to civility and political order. The writers examine civility as a concept and its role in both political organisation and economic relations between citizens in Renaissance Italy.

The book also focuses on the cities of today and how we can create urban environments where the individual can flourish. Can townscapes and good manners generate happiness, and what role does architecture play in creating civilised societies? Can civility prevail in a world of disruption?

CITY, CIVILITY AND CAPITALISM


Yolande Barnes, Professor of Real Estate, University College London, The Bartlett Real Estate Institute, UK.

Erica Benner, Writer, Germany.Anne Fairfax, Architect, Fairfax and

Sammons Architects, USA.Antony Molho, Professor Emeritus,

The European University Institute and Brown University, Italy.

Kjell A. Nordström, PhD, economist, writer and public speaker, Sweden.

Juliet Samuel, Columnist, The Telegraph, UK.

John Simpson, John Simpson Architects, UK.

Nicholas Boys Smith, Director, Create Streets Ltd., UK.

Maurizio Viroli, Professor, University of Texas at Austin, USA.


ISBN Eng: 978-91-89069-06-0. 571 illustrations. 70 x 50 cm (portrait). 600 pp. Available in a bilingual Swedish/English version.

AUTUMN 2020

GUSTAV III His Own Architect

Gustav III (1746–1792) is one of Sweden’s best-known and most important kings, both in Sweden and internationally. He is especially known as the founder of several academies – perhaps most notably the Swedish Academy, the body that selects the Nobel Prize laureates in literature – but also for his importance to theatre and art.

Outside a small circle of connoisseurs, his importance as an architect, builder and patron has remained unknown. Few people are aware that he made his own drawings. Now published for the first time, this exclusive edition will feature a total of 571 drawings, many by the king’s hand. It will be divided into three parts, and comes with a Gustavian table for display.

Magnus Olausson, Reader, Head of Collections and Research at Nationalmuseum.


Carl Gustav Jung’s Man and His Symbols is one of the most important classics of Analytical Psychology. In the book, Jung explains our dreams’ different symbols, a subject that is at least as thought provoking today as when the book was first published in 1964. With a new Swedish translation, this popular book is made accessible once again.

“This book, which was the last piece of work undertaken by Jung before his death in 1961, provides a unique opportunity to assess his contribution to the life and thought of our time, for it was also his first attempt to present his life-work in psychology to a non-technical public…” – The Guardian.

MAN AND HIS SYMBOLS

ISBN Swe: 978-91-89069-05-3. 400 illustrations. 24 x 17 cm (portrait). 340 pp. Available in Swedish. Translated by Karin Stolpe.

Rights not for sale. SPRING 2020

ISBN Eng: 978-91-89069-20-6. 130 illustrations. 23 x 31 cm (landscape). 250 pp. Available in English and Swedish. AUTUMN 2020

Hjalmar Stolpe is one of Sweden’s best-known archaeologists and explorers. In the late 19th century he sailed around the world on the steamboat Vanadis. Portugal, Brazil, Chile, Thailand, India and Egypt are some of the places he visited on his 18-month journey. Also on the trip was the 22-year-old photographer Oscar Ekholm.

The expedition, one of the first of its kind ever to be documented using photography, brought home a unique collection that includes thousands of photographs. This material has never been published before.

EXPEDITION VANADIS– An Ethnographic Voyage

Around the World 1883–1885

Bo G Erikson, Science journalist and Honorary Doctor at Uppsala University, Sweden.

Bengt Wanselius, Photographer and Image Editor, Sweden.

1An Ethnographic Voyage Around the World 1883–1885Bo G Erikson Oscar Ekholm Bengt Wanselius

EXPEDITION VANADIS


22 23

”Gravöppning vid Ancon” skrev Hjalmar Stolpe på baksidan på denna bild, där han mäter djupet i en av de framgrävda gravarna. I sin bildlista noterar

han också: ”Huaca med tak af adober”, det vill säga stenar som formats av lera och vatten och torkats i luften. ”Jag undersökte 11 sådana grafar. De innehöllo inga dyrbara fynd, men några saker voro utmärkta. Det vigtigaste var att få lära känna begrafningssättet. En mängd lårar fylldes med några mumier, många skallar, kruk-kärl etc., och såsom stoppning användes tyg af alla slag, som hittades på jordytan och som utgjort svepningen åt förstörda mumier.” (Bild HS arkivet. NOT: Sthlms Dagblad 18/8 1884).

Under fyra aprildagar 1884 skedde utgrävningen av indianernas gamla gravfält vid Ancon i Peru, några mil norr om Lima. På kistan som skulle fyllas med

skelett och kranier sitter Hjalmar Stolpe i tropikhjälm. Vid hans högra sida ses den inhyrde arbetsledaren och professionelle gravplundraren George Kiefer och på vänstersidan den tyske vännen och affärsmannen Wilhelm Gretzer. Stående ses de fem peruanska arbetarna som skyfflade undan flygsanden för att nå ner till gravarna. Stolpe greppar ett lerkärl och en måttstock. (Bild HS-arkivet).

De enkla redskapen som användes på gravfältet vid Ancon visas upp av gravgrävaren Faustino Rojas - en spade och en lång grov järntråd som stacks ned i flygsanden för att lokalisera gravarna. Där tråden ”utan motstånd går ned mer än 2 fot [60 cm], der är vanligen graf.”(Bild EM).

14 15

Hjalmar Stolpes intresse för den relativt nya fototekniken var stort och parallellt med Oscar Ekholms verksamhet under världsomseglingen byggde Stolpe mål-

medvetet upp en fotosamling med inköpta bilder. Ett favoritområde var ”folktyper” och i Rio de Janeiro gjorde han sitt första inköp - två ”indianer”, som han kallade dem. (Bild HS-arkivet).

ISBN Eng: 978-91-89069-09-1. Approx. 140 illustrations. 32 x 24 cm (portrait). 280 pp. Available in English and Swedish. AUTUMN 2020

Axel Törneman (1880–1925) is one of the pioneers of modern Swedish art history. He is best known for his large frescos in the Stockholm City Hall and elsewhere. Nonetheless, few people today have heard of him. He pursued his own path, consciously choosing not to belong to any artistic group. That may also be a factor in his relative anonymity.

This is the first biography on Törneman, written by Anita Theorell, who has a doctorate in art history. The book includes a large number of his lesser known easel paintings as well as previously unpublished material such as photos and drawings. Theorell presents an intense, bold, headstrong artist who lived far too short a life, one that was at times quite dramatic.

AXEL TÖRNEMANArt is Life

Anita Theorell, PhD in Art History, author, Sweden.

Bengt Wanselius, Photographer and Image Editor, Sweden.


Water routes long constituted the most natural way to travel, and the ships that people travelled on also served as an expression of the owner’s status and power. The roughly forty ship artefacts in the Maritime Collection at Engelsberg, in the form of figureheads, ornaments and other decorative elements, bear witness to many stories about life at sea.

This anthology presents a number of approaches to the many symbols and artistic expressions found on vessels, along with recent photos and new knowledge about the figureheads.

IMAGERY OF THE SEAFigureheads and Symbols

ISBN Eng: 978-91-98523-79-9. Approx 130 illustrations. 32 x 24.5 cm (portrait). 270 pp. Available in English and Swedish. AUTUMN 2020

Annika Bünz, PhD in Archeology, Sweden.Lars Einarsson, Department Head,

Kalmar County Museum, Sweden.Niklas Eriksson, PhD in Archeology,

scientist at the Department of Archeology and Classical Studies, Stockholm University, Sweden.

Fred Hocker, PhD in Anthropology, Sweden.

Leos Müller, Professor of History at the Department of History, Stockholm University, Sweden.

Johan Rönnby, Professor of Marine Archeology at the Department of Historical and Contemporary Studies, Södertörn University, Sweden.

Svante Helmbaek Tirén, Writer and curator specialising in architectural and decorational history, Sweden.

Ingrid Ulfstedt, Curator, The Swedish National Maritime and Transport Museums, Sweden.

66 67 182 183

kusten utanför nordjylland i Danmark har sedan urminnes tider varit känd för sina farli-ga vatten. Inte minst kring Skagen, där Skagerrak övergår i Kattegatt, mötte många fartyg sitt öde bland förrädiska rev och hårda stormar. I arkiven hittar man spår av hundratals förlis-ningar tillsammans med skildringar av räddningsaktioner, hjältedåd och tragedier.

Handel med vrakgods blev tidvis en betydande extrainkomst för lokalbefolkningen. Efter olyckorna hölls vrakauktioner, där föremål som sköljts upp eller räddats gick under klubban till högstbjudande. Andra gånger samlades vrakgods upp av förbipasserande, och än idag finns det gott om artefakter och berättelser bevarade från segelfartygens tid. Alla ger de en bild av det hårda livet till havs, och betydelsen av de många kontakter som sjöfarten förde med sig.

Galjonsfigurssamlingen på Engelsbergs bruk är ett märkligt och tankeväckande monu-ment över vår maritima historia. Den består av trettiotvå galjonsfigurer, och ett antal orna-ment och namnskyltar. Tidigare gick den under namnet Skagensamlingen, eftersom föremålen härstammar från fartyg som förlist utanför Nordjyllands kust. De flesta daterar sig till 1800-talets första hälft och mitt, den period som blev den avslutande fasen på

GALJONSFIGURERNA PÅ ENGELSBERGSvante Helmbaeck Tirén

Ceped ut ut lis nia pe labo. Et doluptatur aut dem ipsapidit erio. Offictis nos peribus, quide voluptatur, con perna-tius as saerciis num esectu-rest qui ut aditas modisimporis dolenda ndanimos quo magni conse-ris aspiciet et qui dolenda nimet autat od undit dolup-tatur aut ationsecatur re, simi, venieni hictu Ceped ut ut lis nia pe labo. Et dolupta-tur aut dem ipsapidit erio.

ISBN Blue Notebook: 978-91-89069-21-3. ISBN Yellow Notebook: 978-91-89069-22-0. 24 x 17,5 cm (portrait). 160 pp. AUTUMN 2019

These blank-page notebooks are hardbound with covers featuring two of Hilma af Klint’s most iconic artworks, The Ten Largest No. 1 Childhood Group IV and The Ten Largest No 3. Youth Group IV.

HILMA AF KLINT Notebooks

www.bokforlagetstolpe.com

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