Brushing Up on Inclusion
An Exploration of Complex Inequalities in the Swedish Art World
This blog-post is part 1 of 2 written by the curatorial initiative close-enough. The texts have recently been published in close-enough’s recent publication How to Navigate Art Instititions that can be aquired as a PDF on their website.
Building on the understanding derived from close-enough’s previous survey, the research paper by Yul Cho, “Brushing Up on Inclusion: An Exploration of Complex Inequalities within the Swedish Art World,” was produced as a response to the issue of segregation within the Swedish art world. The aim of this research is not only to draw attention to materials that have dealt with similar issues, but also to provide a comprehensive theoretical framework for addressing this problem. The paper serves as an exploratory overview of the issue, as well as a means of anchoring our understanding of the topic.
Excerpt from research paper written by Yul Cho
Is art for everyone? Some might say art is for everyone to enjoy and experience, but is art for everyone to access? Many individuals may not be able to afford the entrance fees for museums or they may feel uncomfortable visiting art exhibitions and events due to their level of knowledge in art or cultural background. Therefore, it is important to question whether art is truly accessible to all, as it should be, regardless of one’s socio-economic or cultural background.
The Swedish art scene is a complex and fascinating subject that demands attention due to its inherent inequalities. While Sweden is one of the most ethnically and culturally diverse countries in all of Europe, it is also highly segregated (Wiesbrock, 2011). This segregation is both present in living areas, education and socio-economic status (Malmberg, Andersson and Östh, 2013; Yang Hansen and Gustafsson, 2016; Åslund and Nordström Skans, 2010). The Swedish art world is affected by this social and urban segregation, resulting in an art world which reflects only certain values and perspectives. While there is growing awareness of these issues in recent years, they are still largely unexplored topics in research and require further study in order to encourage and contribute to a wider discourse surrounding the matter.
The paper examines the complex inequalities present in the Swedish art world, particularly focusing on the intersection of class and ethnicity. Mainly drawing on Civil Sphere Theory, the paper analyzes existing literature, reports, and data sources to identify patterns and themes related to the research questions. With socio-economic status and migration status being tightly intertwined, the Swedish art world is characterized by inherent segregation, with predominantly white and elite circles dominating this field.
In the context of the Swedish art world, the paradoxical colorless racial bias embedded in the civil sphere creates its exceptionalism. The ideology that Sweden is a progressive and inclusive nation with a strong commitment to diversity and equality, is in a tension of being a form of nationalism that erases the country’s colonial past and reinforces normative whiteness (Ahmed, 2007; Hübinette and Lundström, 2014; Lund and Voyer, 2019; Mostyn, 2019). Exceptionalism thus poses challenges for achieving inclusion and diversity in the Swedish art world. The paper finds that this is particularly evident in higher art education institutions in Sweden, with students from immigrant backgrounds being severely underrepresented (Annerborn and Dominguez, 2015). Brown Island’s proposal regarding Vita havet’s name change and its debate surrounding the matter highlights the issue of Swedish art world exceptionalism in higher education institutions and reveals the challenge for the incorporation of subordinate groups into Sweden’s civil sphere (Alexander, 2008). This struggle is further understood through various reports highlighting the structural inequalities and lack of inclusivity within the Swedish art world. Additionally, the paper discusses how cultural wealth is mostly accessible to those who have the financial means to acquire it (Bourdieu, 1977). Thus, the assumption of a homogenous audience and lack of diversity goals in Swedish art institutions reinforces dominant cultural values and norms, perpetuating inequalities and concealing the privileged position of ethnic Swedes (Lund and Voyer, 2019).
Lastly, possible ways to resolve the complex inequalities are addressed. For instance, strategic separatism and local-focused approaches have been used in practices by MFK (Malmö Fria Kvinnouniversitet), Tensta Konsthall, and Botkryka Konsthall. Education can also promote diversity and accessibility in the Swedish art world by providing preparatory art education programs. In addition, it is important to keep in mind that success of civil repair ultimately depends on the political power and bureaucratic organization of the state. Governmental decisions and changes in policies that could create barriers like charging admission fees could reinforce cultural reproduction of the core group.
To conclude, the paper highlights some of the complexities in the Swedish civil sphere focusing on the art world. Using Civil Sphere Theory as a lens, this paper looks into issues of exclusion and struggles for civil repair in the Swedish civil sphere, which can be disheartening. However, Civil Sphere Theory also provides an opportunity to recognize the crucial role of solidarity in achieving greater inclusion and diversity in the Swedish art world. As it stands, art is not accessible to everyone, but a more accessible and welcoming Swedish art world certainly could be created; one that provides opportunities for all individuals to appreciate and engage with the arts.
Yul Cho
Yul Cho (b.1997, Seoul) is a Stockholm-based curator whose work involves exploring issues of representation within the geopolitical context through curatorial practice and research, drawing insights from artistic, sociological, and historical studies. Cho holds a master’s degree in Curating Art at Stockholm University. Currently, she is co-curating the thematic exhibition for the 17th Busan International Video Art Festival. Cho’s recent projects include close-enough’s inaugural project and the publication How to Navigate Art Institutions, as well as the visual concert “How to Draw a Voice” at Stockholm University, which was part of the exhibition “Big Water” at Accelerator, co-curated with Victoria McCarthy.
close-enough
close-enough is a curatorial initiative co-founded by Ifra Shariq and Yul Cho during their MA studies in Curating Art at Stockholm University. Born out of shared frustrations with the Swedish art world, their aim is to bridge the gap between art institutions and underrepresented communities. The name close-enough signifies the often observed distance between art institutions and their audiences, alluding to the notion of an invisible line that people hesitate to cross for fear of being too close or touching the art. With a focus on genuine inclusivity, they strive to make art more accessible and engaging for a broader audience.
