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Fuchs, H. (2019). The Reception of the Halmstad Group in the 1930s. In: Benedikt Hjartarson, Andrea Kollnitz, Per Stounbjerg and Tania Ørum (Ed.), A Cultural History of the Avant-Garde in the Nordic Countries 1925-1950: (pp. 241-256). Leiden: Brill Academic Publishers
Open this publication in new window or tab >>The Reception of the Halmstad Group in the 1930s
2019 (English)In: A Cultural History of the Avant-Garde in the Nordic Countries 1925-1950 / [ed] Benedikt Hjartarson, Andrea Kollnitz, Per Stounbjerg and Tania Ørum, Leiden: Brill Academic Publishers, 2019, p. 241-256Chapter in book (Refereed)
Abstract [en]

Early on, influential art historians and critics identified the Halmstad Group as an interesting Swedish example of international surrealism. Others made fun of a supposedly odd combination of international avant-garde trends and manifestations of such an off-centre locality as the city of Halmstad. Individually the artists were both identified and denied as surrealists, depending on how strictly they were compared to preconceived notions about international surrealism. The artists themselves tried to balance this with independence in order to claim a type of surrealism of their own.

Place, publisher, year, edition, pages
Leiden: Brill Academic Publishers, 2019
Series
Avant-Garde Critical Studies, ISSN 1387-3008, E-ISSN 1879-6419 ; 36
Keywords
The Halmstad Group, Surrealism, Nordic Avant-Garde, Literature, Arts & Science, Literature and Cultural Studies, Cultural History, Literature and Cultural Studies, Social Sciences, Performing Arts, Art History
National Category
Cultural Studies
Identifiers
urn:nbn:se:hh:diva-38268 (URN)978-90-04-36679-4 (ISBN)978-90-04-38829-1 (ISBN)
Available from: 2018-11-06 Created: 2018-11-06 Last updated: 2019-03-20Bibliographically approved
Fuchs, H. (2018). The Halmstad Group: surrealism in the 1930s. In: Ludwig Qvarnström (Ed.), Swedish Art History: a Selection of Introductory Texts (pp. 287-384). Lund: Lund University
Open this publication in new window or tab >>The Halmstad Group: surrealism in the 1930s
2018 (English)In: Swedish Art History: a Selection of Introductory Texts / [ed] Ludwig Qvarnström, Lund: Lund University , 2018, p. 287-384Chapter in book (Refereed)
Abstract [en]

In the 20th-century of Swedish art the Halmstad Group (Halmstadgruppen) is associated with post-cubism during the 1920s and the introduction of surrealism during the 1930s, and the group garnered much attention being from a small provincial town having an obvious relationship to international avant-garde movements. Even so, some critics seemed unable to consider them as a part of both a local and a international context. Irrespective of art movement the Halmstad Group was related to by art critics, it was often described in relation to ‘Swedish’ art, international movements, and to preconceived ideas about provincial places such as the city of Halmstad. The group exhibited extensively in Sweden during the 1930s, and a large number of articles and newspaper items were written about them. 

The reception of the group’s surrealism was as profoundly divergent, and this article intends to present how the surrealism of the Halmstad Group was met during the 1930s in terms of both Swedish cultural contexts and international modernist contexts. 

 

 

Place, publisher, year, edition, pages
Lund: Lund University, 2018
Series
Lund Studies in Arts and Cultural Sciences, ISSN 2001-7529 ; 18
National Category
Art History
Identifiers
urn:nbn:se:hh:diva-38271 (URN)978-91-983690-6-9 (ISBN)
Available from: 2018-11-06 Created: 2018-11-06 Last updated: 2018-11-07Bibliographically approved
Fuchs, H. (2016). Bröstbilder och verklighet. Kulturen: en årsbok till medlemmarna av Kulturhistoriska föreningen för södra Sverige, 2-4
Open this publication in new window or tab >>Bröstbilder och verklighet
2016 (Swedish)In: Kulturen: en årsbok till medlemmarna av Kulturhistoriska föreningen för södra Sverige, ISSN 0454-5915, p. 2-4Article in journal (Other (popular science, discussion, etc.)) Published
Place, publisher, year, edition, pages
Lund: , 2016
Keywords
Elisabeth Ohlson Wallin, Bröstcancer, bröst
National Category
Arts
Identifiers
urn:nbn:se:hh:diva-33685 (URN)
Available from: 2017-04-06 Created: 2017-04-06 Last updated: 2018-03-21Bibliographically approved
Fuchs, H., Enbom, J. & Ingvarsson, J. (2016). Humanioras pris och värde: resurser och utbildningskvalitet. Stockholm: Humtank
Open this publication in new window or tab >>Humanioras pris och värde: resurser och utbildningskvalitet
2016 (Swedish)Report (Other (popular science, discussion, etc.))
Abstract [sv]

Tankesmedjan Humtank har valt att under 2016 särskilt fokusera på frågan om utbildnings-anslaget och dess relation till utbildningskvalitet och arbetsvillkor inom humaniorasektorn. Som ett led i detta lägger Humtank fram denna rapport i syfte att kartlägga nuvarande situation och staka ut möjliga riktningar för framtiden.

Place, publisher, year, edition, pages
Stockholm: Humtank, 2016. p. 24
Series
Humtank rapport ; 1
Keywords
resursfördelning, högre utbildning, humaniora, kontakttid, kvalitetssäkring
National Category
Other Humanities
Identifiers
urn:nbn:se:hh:diva-33684 (URN)
Note

Humtank är en tankesmedja för forskning och utbildning inom humaniora som har tillkommit genom ett unikt samarbete mellan humanistiska fakulteter vid ursprungligen tolv svenska universitet och högskolor. Syftet är att stärka humanioras roll såväl inom som utanför de akademiska institutionerna. Humtank vill också i offentligheten visa på de humanistiska ämnenas relevans och bärkraft i samhället.

Available from: 2017-04-06 Created: 2017-04-06 Last updated: 2018-03-23Bibliographically approved
Fuchs, H. (2015). Museum homepages as a tool for challenging the past and diversifying the future. In: Jonathan Westin, Anna Foka & Adam Chapman (Ed.), challenge the past / diversify the future: Proceedings: March 19-21 2015, Gothenburg. Paper presented at Challenge the Past / Diversify the Future - A Critical Approach to Visual and Multi-Sensory Representations for History and Culture, Gothenburg, Sweden, 19-21 mars, 2015 (pp. 68-68). Gothenburg: University of Gothenburg
Open this publication in new window or tab >>Museum homepages as a tool for challenging the past and diversifying the future
2015 (English)In: challenge the past / diversify the future: Proceedings: March 19-21 2015, Gothenburg / [ed] Jonathan Westin, Anna Foka & Adam Chapman, Gothenburg: University of Gothenburg , 2015, p. 68-68Conference paper, Oral presentation with published abstract (Refereed)
Abstract [en]

The purpose of this paper is to critically examine how museums can use their homepages as tools in order to handle problematic cultural heritage in their care. Focus will be laid on locally established museums, which faces problems when the first generation of enthusiasts are succeeded by a younger, and maybe more professionalised staff. Such a change of generations may coincide with an urgent need to deal with historiography as well as with fading public and academic interest. How may a museum, in a situation of that kind, use its homepage as an arena for handling a narration which might be perceived as the story or as deeply problematic and misleading? What possibilities and problems may a homepage and digital technology offer, in order to engage existing supporters as well as new groups of information providers and seekers? What sorts of traditional and untraditional sources of information are possible to make available and in what form, considering limited economical means and copyright? What freedom of actor ship is the museum willing to allow its homepage visitors, in order to make more voices heard, and previously neglected perspectives visible? Consequently, what types of control does the museum want to uphold? Is the liberty of action and effect necessarily more limited for a small museum, than for a large one? To some museums these are urgent issues which needs to be dealt with in order to maintain financing, and uphold its collection as important cultural heritage.

As an example the Mjellby Art Museum/the Halmstad Group museum will be discussed, and supplemented with some Swedish as well as foreign examples.

Place, publisher, year, edition, pages
Gothenburg: University of Gothenburg, 2015
National Category
Humanities
Identifiers
urn:nbn:se:hh:diva-29767 (URN)
Conference
Challenge the Past / Diversify the Future - A Critical Approach to Visual and Multi-Sensory Representations for History and Culture, Gothenburg, Sweden, 19-21 mars, 2015
Projects
Framtidens lärande
Available from: 2015-11-15 Created: 2015-11-15 Last updated: 2015-11-16Bibliographically approved
Fuchs, H. (2014). Minding the Sound – Blasting the Frame: Sound as Destabilizing Visual Art. In: Minding the Sound – Sounding the Mind: Soundscapes Past and Present, Imagined and Real: 27-28 November 2014. Paper presented at Minding the Sound – Sounding the Mind. An interdisciplinary symposium on soundscapes past and present, imagined and real organised by the Humanities section at Halmstad University, Halmstad, Sweden, 27–28 November, 2014 (pp. 4-4). Halmstad: Halmstad University
Open this publication in new window or tab >>Minding the Sound – Blasting the Frame: Sound as Destabilizing Visual Art
2014 (English)In: Minding the Sound – Sounding the Mind: Soundscapes Past and Present, Imagined and Real: 27-28 November 2014, Halmstad: Halmstad University , 2014, p. 4-4Conference paper, Oral presentation with published abstract (Other academic)
Abstract [en]

What happens with the traditionally quiet, comfortably distanced activity of looking at art when sound or disturbing noise cannot be ignored as a part of it? In this presentation I want to discuss how sound and noise in visual art can be understood as a means to obstruct the onlookers’ ability to keep a distance, by intensifying the reality level. In the framed environment of art museums as well as outside, artists can use sound in order to obstruct the border between art and the enclosing reality. This can be experienced both as seductive and frightening, for example if there are no visible imprints of the artist at all. Thus sound and noise can destabilize our notions of what an art experience is, and thus destabilize the relations between artist, artwork, physical context and “onlooker”.

In the history of western visual art, artists’ ambition to blur the difference between art as artefacts and reality has been a recurrent aim in religious as well as in secular contexts. Recurrently, new methods and techniques have been developed in order to create visual illusions of reality, thus concealing or discussing art as something artificial. Thus, sound and noise in visual art can be understood as a part of this ongoing project of exploring, depicting and experiencing illusions and reality. Artists naturally realize the possibilities of modern audio visual technology, but are “onlookers” also willing to let go of their comfortably distanced approach in order to enter the unreliable experience of audio-visual art?

Place, publisher, year, edition, pages
Halmstad: Halmstad University, 2014
National Category
Art History
Identifiers
urn:nbn:se:hh:diva-27208 (URN)
Conference
Minding the Sound – Sounding the Mind. An interdisciplinary symposium on soundscapes past and present, imagined and real organised by the Humanities section at Halmstad University, Halmstad, Sweden, 27–28 November, 2014
Available from: 2014-12-10 Created: 2014-12-10 Last updated: 2017-03-22Bibliographically approved
Fuchs, H. (2014). När blir samtidskonst i kyrkan konsthistoriskt intressant?. In: Emilie Karlsmo, Jakob Lindblad och Henrik Widmark (Ed.), De kyrkliga kulturarven: aktuell forskning och pedagogisk utveckling. Paper presented at De kyrkliga kulturarven. Aktuell forskning och pedagogisk utveckling (pp. 127-134). Paper presented at De kyrkliga kulturarven. Aktuell forskning och pedagogisk utveckling. Uppsala: Uppsala universitet, 1
Open this publication in new window or tab >>När blir samtidskonst i kyrkan konsthistoriskt intressant?
2014 (Swedish)In: De kyrkliga kulturarven: aktuell forskning och pedagogisk utveckling / [ed] Emilie Karlsmo, Jakob Lindblad och Henrik Widmark, Uppsala: Uppsala universitet , 2014, Vol. 1, p. 127-134Chapter in book (Other academic)
Abstract [sv]

Varför skrivs det så lite om samtidskonsten i kyrkan? Vad krävs för att göra det intressant? Varför tycks de senaste decenniernas teori- och metodutveckling inom konstvetenskapen inte ha nått detta fält? Med utgångspunkt från en kurs om religion och bildkonst i det sena 1900-talets Sverige (7,5 hp) och min avhandling om historieskrivningen kring glasmåleri, vill jag diskutera konsekvenserna av konstvetenskapens ointresse för samtidskonst i kyrkan. Men jag vill också peka på möjligheter att reaktivera kyrkan som konstvetenskapligt intressant kontext.  Konstvetenskap som disciplin har mycket att vinna på att koppla samman historia och samtid genom kyrkan som kontext, i undervisningen och med tanke på den akademiska tredje uppgiften.

Place, publisher, year, edition, pages
Uppsala: Uppsala universitet, 2014
Series
Arcus sacri ; 1
Keywords
Kyrkor, Kulturarv, Samtidskonst
National Category
Art History
Identifiers
urn:nbn:se:hh:diva-27202 (URN)978-91-554-8868-0 (ISBN)
Conference
De kyrkliga kulturarven. Aktuell forskning och pedagogisk utveckling
Available from: 2014-12-10 Created: 2014-12-10 Last updated: 2015-02-16Bibliographically approved
Fuchs, H. (2012). To determine cultural value for the future: is it possible or even desirable?. In: : . Paper presented at The 10th Triannual Nordik Committee for Art History Conference NORDIK 2012, "The Critical Production of Display and Interpretation in Art History", 24-27 October, 2012, Stockholm, Sweden.
Open this publication in new window or tab >>To determine cultural value for the future: is it possible or even desirable?
2012 (English)Conference paper, Oral presentation only (Refereed)
Abstract [en]

What art is worth paying attention to and protect as national cultural heritage has changed throughout history. Prior to the 19th century it was not obvious to attach importance to a work of art because of old age. In the context of modernism importance was connected to avant-garde movements.

According to Swedish law old age and price are significant factors in determining what individual works of art are to be guarded as important cultural heritage. Currently, when modernist art begins to reach the crucial age of 100, the amount of works which need permission to leave the country will rise significantly. Permissions have to include assessments of significance as Swedish cultural heritage. Therefore, what parameters ought to be used for modernistic art needs to be discussed. But is it possible or even desirable to formulate national guidelines in order to protect and determine what modernistic art should be regarded as national cultural heritage in the future? This highlights a number of important questions such as: the notion of a national canon (in relation to an international); national canonisation processes; assessment of significant local and regional cultural heritage in relation to national notions.

My intention is to discuss these questions in connection to the introduction of surrealism in Sweden. Based on approximately 200 previously neglected articles I will discuss the reception of “Halmstadgruppen” and its surrealism in the 1930s and 40s. It was constantly described in relation to “Swedish” art, international movements and to preconceived ideas about provincial places such as the city of Halmstad. As a result of successful promotion and some obvious connections to French surrealism, “Halmstadgruppen” quite early was granted a place in the history of Swedish modernism. Local support is firm and visible in “Mjellby Art Museum. The Museum of the Halmstad Group”, privately founded now financed by the city of Halmstad. However, since the millennium “Halmstadgruppen” has not generated any attention compatible to the 1930s. The surrealism of “Halmstadgruppen” seems to be regarded as uninteresting by art critics.

Obviously, the notion of something as a valuable cultural heritage in a national context constantly needs to be nurtured. Exhibitions are not enough. The framing continuously needs to be updated in relation to ongoing theoretical discussions. Reliable and creative academic texts have to be written.

Hopefully, existence of academic research will be one factor in predicting future cultural value. Much harder to handle is the implications of absence of research and currently unimaginable questions of future scholars. Opinions about what modernist art is worth buying, paying attention to and protect as national cultural heritage will probably change.

National Category
Art History
Identifiers
urn:nbn:se:hh:diva-27206 (URN)
Conference
The 10th Triannual Nordik Committee for Art History Conference NORDIK 2012, "The Critical Production of Display and Interpretation in Art History", 24-27 October, 2012, Stockholm, Sweden
Available from: 2014-12-10 Created: 2014-12-10 Last updated: 2017-04-27Bibliographically approved
Organisations
Identifiers
ORCID iD: ORCID iD iconorcid.org/0000-0003-3885-8005

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