Summary

There are several professional competences involved in the creation of a museum exhibition. This article investigates the collaboration between the artist/scenographer and the museum. Further, it seeks to contribute to a historical understanding of such collaborations by exploring the work created by the Swedish artist/scenographer Lennart Mörk in the 1960s and 1970s. It analyses the arguments used to justify the involvement of an artist/scenographer, and looks more closely at the nature of the collaborative work that ensued when the two exhibitions Oskuld – Arsenik (1966/67) at Nordiska museet and Gustaf III (1972/73) at Nationalmuseum were created. The article argues that the recruitment of a theatre decorator/stage artist, as this group of professionals were referred to at the time, was part of a strategy that allowed the museum to realize complex exhibition concepts, while also making the display more emotionally engaging and accessible, something that was increasingly demanded of the museums at the time. Moreover, it challenged a traditional museum exhibition format, placing less focus on the authentic museum objects and more focus on sensory experience and aesthetics.

概括

博物馆展览的创作涉及多项专业能力。本文调查了艺术家/布景师与博物馆之间的合作。此外，它试图通过探索瑞典艺术家/布景师 Lennart Mörk 在 1960 年代和 1970 年代创作的作品，促进对此类合作的历史理解。它分析了用于证明艺术家/布景师参与正当性的论点，并更仔细地审视了在 Nordiska museet 和Gustaf III举办的两个展览Oskuld – Arsenik (1966/67)时合作工作的性质(1972/73) 在 Nationalmuseum 被创建。文章认为，招聘剧院装饰/舞台艺术家，正如当时所称的这群专业人士，是让博物馆实现复杂展览概念的策略的一部分，同时也使展览更具情感吸引力和吸引力。可访问性，这是当时博物馆越来越需要的东西。此外，它挑战了传统的博物馆展览形式，更少关注真实的博物馆物品，更多地关注感官体验和美学。