What happened with the art of the strike? An art ... - Tensta konsthall

What happened with the art of the strike?
An art project by Ingela Johansson
Tensta konsthall 14.3—26.5 2013
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In December 1969, a wildcat strike broke
out in the iron ore fields in Norrbotten,
the far north of Sweden. Despite the fact
that it was a record year for Sweden and
that the state-owned mining company
LKAB made a profit, the working
conditions of the miners became worse.
The strike spread from Kiruna to
Svappavaara and Malmberget and after
a few days, involved some 5,000 miners.
Through NLF (National Liberation
Front/Vietnam) and other local political
groups, many people working in culture
expressed solidarity with the miners and
engaged themselves in their situation.
Artist Ingela Johansson’s project What
happened with the art of the strike? is
about the wildcat strike–which can be
seen as one of the first major cracks in
the facade of the welfare state–and the
effects it had on the cultural life. The
project encompasses various investigations
of the strike, and these are materialized in
different ways. One is an exhibition of the
Gruvarbetarnas strejkkonstsamling (The
Miners’ Strike Art Collection), the largest
part of which is shown at Tensta konsthall.
The collection consists of some one
hundred artworks which were donated by
artists in support of the strike fund.
Among the artists who donated work were
Albin Amelin, Siri Derkert, Lars Hillersberg,
and Berta Hansson. At present, the
collection is under the auspices of the
municipal Gällivare Museum.
Ingela Johansson’s project also contains
edited archive material, a series of
photographs and dramatizations based
on strike documents.
Various social and political groups were
active all over Sweden to collect money for
the miners' strike fund when they did not
get strike support from LO (The Swedish
Trade Union Confederation). Several
initiatives were taken on by the arts and
culture scene to organize art auctions and
fundraisers for the strikers including by
Sundsvall Museum, Stockholm Concert
Hall, Moderna Muséet and Gallery
Heland. The art works which were
shipped to Malmfälten were nevertheless
not sold. Instead, after the strike, they
were spread out and stored on different
premises such as ABF (Workers’
Educational Association), Gruv 4:an (4th
Mine), and Folkets Hus in Malmberget.
Over the years, the collection has been
managed by the strike committee members
and the local mining union, Gruv 4:an,
in Malmberget, but since 2009 it has
been stored at Gällivare Museum. The theatre groups such as the NJA group and
collection is owned by the miners at LKAB. Teater Narren. Part of the project What
Another part of Ingela Johansson’s
happened with the art of the strike?
project is a book which has been produced has been produced within the framework
at Konsthall C in collaboration with the of Kirunatopia, a residency programme
poet and designer Martin Högström, and initiated by the Goethe Institute, Sweden
will be printed during the spring of 2013. and Konsthall C in cooperation with the
The book focuses on how the miners’ municipality of Kiruna and the Art College
strike brought together the 1968
at Umeå University, the Bildmuseet and
movement, popular movements, and the Gällivare Museum. The project has
working-class Left. The strike is depicted been subsidized by the Swedish Arts
through a montage of documentary
Grants Committee. Thanks to the Swedish
materials, play manuscripts, texts, and
contemporary interviews. An important
Royal Dramatic Theater.
point of departure for the book is the In the exhibition:
cultural productions that were created in Art Collection: The Mineworkers’ Art
conjunction with the strike. The cultural Collection from the strike in 1969,
workers' engagement in social and
Gällivare Museum
political movements and democratization For the complete list of works in the
processes during 1968 has been added to collection please refer to the end
the history of the strike. In addition to
The Miners’ Strike Art Collection, these
of the hand out
include Sara Lidman’s and Odd Uhrbom’s Documents:
reportage book, Gruva (The Mine), the - Poster I, Telegram to the strike
documentary film Kamrater, motståndare committee from the Swedish people
är välorganiserad (Comrades, the
- Poster II, Inventory list by Östen
Opposition Is Well Organized), which will Öhlund, member of the strike committee
be screened on 20.03 at Tensta konsthall, Video: Speech to the mineworkers by Sara
Gruvstrejken 69/70 (The Mine Strike Lidman, staged by Cecilia Nilsson on
69/70) by Margareta Vinterheden and 13.3. 2013 at Tensta konsthall. Concept by
Alf Israelsson, and performances of
Ingela Johansson. In the café.
2 What happened with the art of the strike?

Interview with Ingela Johansson
conducted by curator Kim Einarsson
on 10.4.2012
Kim Einarsson: Many of your works
show your interest in how art is collected
and mediated, and the ideologies involved.
In this project you have chosen to show
the art collection that was established in
connection with the big mining strike at
Svappavaara, Malmberget, and Kiruna
in 1969-1970. What specifically about this
strike and collection interested you?
Ingela Johansson: The strike brought
to the fore the power relationships in
working life and the forces behind
society’s development. One wanted to
have increased influence over work and
the organisation of work. The critique
of ideology was a strong current in the
intellectual world and the city political
machine’s influence over cultural practice
was a complicated one. There was a
massive support fund raised for the
strikers among cultural practitioners
around the country. I find the act of
donating art in solidarity with the strikers
very interesting: to give away something as
a gift with the idea that the striking miners
and can contribute by showing the
collection in an art context, and convey a
symbolic image of the strike in dialogue
with other collections. What is especially
interesting with the miner strike’s art
collection is that this historical
representation is broad--that it has roots
in the people and worker’s movement, but
also in an art scene with many prominent
modernists represented. It is an important
document of its time.
KE: Your project builds on several years
of work on this strike and the cultural
productions that arose as acts of solidarity
with the striking workers. You have a
gigantic amount of archival material. Can
you say something about your selection of
material for this presentation in Umeå?
IJ: It is important to see the collection as a
collection with its own body and its own
fate. It represents the strike committee. I
have seen the opportunity of collaborating
with Gällivare Museum to research on the
collection for a larger ongoing text work
as a parallel activity to actually presenting
it physically to an audience in a museum.
Considering the historical context of the
collection, that it belongs to the strike
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had the potential to change society. The
collection tells a history about the fact
that artists stood up for the miners in a
labour market conflict that shook the
Swedish Model significantly. It is also a
great resource as a document of its time
that allows one to further analyse larger
structures, such as the power relationship
between the individual and the state
during a time of social flux, as the ‘60-70s
is commonly characterised. Precisely this
perspective felt relevant and important to
address in relation to the artworks that are
represented in the collection, which has
found a home at Gällivare Museum, a
hundred kilometres south of Kiruna. The
collection consists of sculptures, paintings,
drawings, and graphic art: works that were
donated by artists to the miners to
supplement their strike fund through
various auctions and collections.
In another parallel work-in-progress I
examine the zeitgeist of the ‘60s and ‘70s
and other cultural productions that were
connected to the strike, which was a part
of a larger widespread current of activism
that occurred around the strike. On the
whole, this is an almost impossible task
because I was not involved myself during
this period, but I’ve studied it a great deal
committee, I have started from the
minutes of the committee meetings where
the collection is mentioned. The collection
was not sold after the strike, but the
committee did wonder what they should
do with it. They wanted to initiate a
travelling exhibition, under the responsibility
of the Malmberget librarian Adolf
Henriksson, in which the art would be
shown together with other documents
from the collection, but this never happened
for some unknown reason. I wanted to
pursue the idea, but have made a
compromise before the exhibition at
Bildmuseet. Gällivare Museum has gotten
the work in the best condition possible
since the collection is not complete. It is
important to not make a selection, but to
initially follow the inventory list from the
committee and the strike committee’s
protocol as much as possible. The
collection has not been shown outside of
Norrbotten before. Bildmuseet is today
the largest art museum in northern Sweden
and the opportunity was given to
showcase the majority of the collection
under the umbrella of Kirunatopia.
KE: For the opening you have arranged a
staging of the speech that the author Sara
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Lidman gave to the miners during the
strike. Can you say something briefly
about how the speech is connected to the
strike collection?
IJ: Sara Lidman was a key figure during
the strike. She came to Kiruna as a
reporter for TV 2 and gave an impromptu
speech at the general meeting in Kiruna
Gymnasium on 12 November 1969. Sara
was well acquainted with the plight of the
miners. In 1968 she wrote the texts for a
book called Gruva (Mine), about the
inhumane working conditions in the
LKAB mine, accompanied by Odd
Uhrbom’s photography. It was an exposé––
portraits in words and images, anonymous
stories of the abuses at the state-owned
enterprise––and a book that would come
to play a major role in the strike’s
development and in defining the dispute.
For example, it came out that the finance
minister Gunnar Sträng disliked the
book’s influence and sought to discredit it.
At the strike meeting in Kiruna
Gymnasium, Sara decided to donate
10,000 SEK of the honorarium she
received for the second edition of Gruva
to form the nucleus of a strike fund.
It was a telling gesture that encouraged
Wednesday 20.3
18:30
Screening of the film Kamrater
motståndaren är välorganiserad by
Lars Westman and Lena Ewert with an
introduction by Ingela Johansson. Talk
about the representation of the strike
between Ingela Johansson and Robert
Nilsson, Phd student in History at
Historiska institutionen, Stockholms
universitet. Moderator: Giorgiana
Zachia, producer, Tensta konsthall.
Saturday 6.4
14:00
Ingela Johansson presents the exhibition
at Tensta konsthall.
Wednesday 17.4
18.00
Witness seminar: What was the meaning
of the medium of the exhibition in
relation to the 1968-movement? with
Louise Waldén, Carl Henrik Svenstedt,
Helena Friman, Eva Persson and Sköld
Peter Matthis. Moderators: Kjell Östberg
and Maria Lind, director of Tensta
konsthall. In collaboration with The
Institute of Contemporary History at
Södertörn University.
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other cultural workers to follow suit. The
staging of Sara Lidman’s speech therefore
gives the collection a background context
in the nationwide fundraising effort and
explains directly how the strike fund came
into being. Sara also had a strong
rhetorical voice that influenced public
opinion and she spoke passionately at
demonstrations to get people to support
the strikers. Sara was also very good
friends with Berta Hansson and Siri Derkert,
two of the artists represented in the
collection. Berta directly initiated an art
auction at Galleri Heland in Stockholm.
What’s on at Tensta konsthall during
What happened with the art of the
strike? in collaboration with ABF
Every Thursday and Saturday 14:00,
Tensta konsthall’s staff introduces the
exhibition
Wednesday 13.3,
17:00-20:00
Opening with performance at 17:00 by
Cecilia Nilsson, who stages Sara Lidman’s
speech to the striking miners.
Thursday 25.4
13:00-17:00
Seminar about representation and the gift
of solidarity with Irina Sandomirskaja,
Professor of Cultural Studies at The
Centre for Baltic and East European
Studies; Ludger Hagedorn, Research
Fellow at the Institut für die Wissenschaften
vom Menschen; Leonard Neuger,
Professor of Polish at the University of
Stockholm; Tora Lane, Researcher in
Slavic Studies at Södertörn University;
Gustav Strandberg, Doctoral student in
Philosophy at Södertörn University; and
Marcia Sá Cavalcante Schuback, Professor
of Philosophy at Södertörn University.
Solidarity: something that there was so
much of in the ’70s in Sweden, or the ’80s
in Poland. But what happened to the word
after that? Solidarity has many languages.
It manifests itself in gestures, gifts, and
encouragement. But how does it relate to
power? Where does solidarity stem from?
Who does it include (or exclude)? What is
the value of a (symbolic) gift offered in a
gesture of solidarity offer? One of the
most striking features of solidarity is the
possibility of giving a gift of language as
such, finding means to express what was
silenced, and to represent common
What happened with the art of the strike?

experience. The Swedish artists who
supported the great strike of the miners in
1969-1970 did so in an act of solidarity.
But who gave the gift of language—the
miners or the artists?
Wednesday 15.5
18.30
Talk about Filialen between Pär Stolpe
and Maria Lind.
In 1969, Pär Stolpe was hired by Pontus
Hultén to make Moderna Museets
exhibitions and museum programs more
radical. This resulted in the experimental
project Filialen (The Branch) (1971-
1973). Filialen was a public education
project with focus on counter cultures,
protest actions, and on the third world,
with the aim of looking at the social and
political movements following 1968 to
broaden the notion of the image. Filialen
got its own department in one of the
barrack buildings on Skeppsholmen i
Stockholm. As a curator, Stolpe set out to
reach an audience not familiar with art to
visit the museum. He wanted to
incorporate the processes of democracy
into the exhibition space to evoke
questions around the freedom of speech.
Some of the exhibitions were Mitt hem är
portraits of the miners and their relatives.
Central in the film are the mass gatherings
and the unity of the miners.
Self-presentations
Marcia Sá Cavalcante Schuback is a
professor of philosophy at Södertörn
University (Sweden). She has also worked
as associate professor at the Universidade
Federal do Rio de Janeiro (UFRJ) in
Brazil. Her field of research is continental
philosophy, with focus on phenomenology,
hermeneutics, German Idealism, and
hermeneutical readings of ancient
philosophy. She is the author of O
começo de deus: A filosofia do devir no
pensamento tardio de F. W. J. Schelling
(Vozes, 1998), A doutrina dos sons de
Goethe a caminho da música nova de
Webern (UFRJ, 1999), Para ler os
medievais: Ensaio de hermenêutica
imaginativa (Vozes, 2000), Lovtal till
intet: essäer om filosofisk hermeneutik
(Glänta, 2006), Olho a olho: ensaios de
longe (7 Letras, 2011), Att tänka i
skisser (Glänta, 2011). She has also
translated several works of philosophy
into Portuguese, among others Being in
Time by Martin Heidegger.
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Palestina (My home is Palestine) with
Odd Uhrbom, Folkets och maktens
murar (The People and the Walls of the
Power) with Gun Kessle and Jan Myrdal,
and Kvinnor (Women) with Grupp 8.
During Stolpe’s time as a curator at
Moderna Museet, “evenings of solidarity”
and fundraisers brought together popular
artists, activists, and political groups to
support groups like the striking miners
during the Miners’ Strike from 1969 to
1970, and The Black Panthers.
Friday 17.5
15:00
The Great Mine Strike of Sweden
(1970) av Margareta Vinterheden och Alf
Israelsson. 73 min.
"If you can go to the moon you should be
able to have a 100 percent emission…"
says the miner Björn Holmberg when he
describes the background of the strike.
One of the reasons for it was the
dangerous work environment with the
hazardous diesel gases in the mine. The
documentary follows the strike in
Malmfälten together with material from
the general assemblies, demonstrations
and union meetings as well as personal
Helena Friman. In the late 1960s, when
I took the step into the world of the
museum, it was a time of confrontations
when the role of the museums changed
rapidly, and many of them transformed
into stages for social critique and debate.
At the Stockholm City Museum where I
worked until 1992, we made exhibitions
that criticized the city planning and the
capitalist society’s waste of resources.
Some of the exhibitions were Spanien
(Spain) 1936, Än sen då (So What),
Staden i retur (The recycled city) and Du
gamla du fria (Thou ancient, Thou free).
One exhibition informed viewers about the
Black Panthers’ work with children and
schools in USA’s big cities. In 1993 The
EU decided that Stockholm was going to
be the European Capital of Culture in
1998. I gave the committee of the Capital
of Culture a suggestion about a special
“Stockholm education” for the people
who worked with the infrastructure in the
city. These would be custom-made classes
that would take place out on the streets of
the city with the city itself as an
instrument and learning tool. The
committee took on the suggestion and
from fall 1996 until New Years Eve in
1998, I Stockholm-educated thousands of
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police officers, parking attendants, bus
drivers, subway employees, guards, cabinet
guards, librarians, social workers, and hot
dog vendors. From 1998 until 2006 I
continued the Stockholm Education under
my own private firm. For the last few
years I have worked on different projects,
lectured, and written books about
Stockholm. Since 2012, I work together
with other activists most recently in
connection with the big exhibition about
Slussen, När Stockholm var modernt
(When Stockholm was modern) at The
Royal Swedish Academy of Fine Arts. The
exhibition was made because the city is
going to choose a better plan for the
rebuilding of Slussen--a kind of subversive
operation in the service of the society.
Ludger Hagedorn is a Research Fellow
at the Institute for Human Sciences
(IWM) in Vienna. After studying
Philosophy and Slavic Languages, he
obtained his PhD from Technical
University Berlin in 2002. From 2005 to
2009 he was Purkyne-Fellow at the Czech
Academy of Sciences. His main interests
include phenomenology, political
philosophy, modernity and secularization.
As a lecturer, he has worked at the
collaborated with other artists and
experts, and has organized discussions. A
selection of places in which Ingela
Johansson has exhibited includes:
Konsthall C, Stockholm (2012),
Bildmuseet, Umeå (2012), Västerbottens
museum, Umeå (2011), Gallery Box,
Göteborg (2010); Periferic Biennale 8,
Iasi, Romania (2008); What about power
relations, Ex Poonto, SKUC Gallery,
Ljubljana, Slovenia, 2008; and Exteriors,
CCA Kiev, Ukrania (2007).
Tora Lane is currently working as
Associate Professor in Philosophy at
Södertörn University within the project
Loss of Grounds as Common
Grounds. In 2009, she defended her thesis
on the Russian poet Marina Tsvetaeva
in Russian Literature at Stockholm
University, and the thesis was awarded a
special prize from the Swedish Academy.
Main research interests are Modernism
and the relation between Philosophy
and Literature.
Sköld Peter Matthis, born in 1937, is a
Swedish medical doctor and a political
activist. Matthis, who has been active in
Clarté since the 1950s, became famous as
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Gutenberg-University Mainz, at
Södertörns Högskola (Stockholm) and for
several years at Charles University in
Prague.
Ingela Johansson has a social practice
that is both research- and productionbased,
responding to site-specific issues
using diverse positions. Her work often
starts with archive research and continues
into various presentations, extending the
document into different expressions,
activating it and discussing its politics and
language. Johansson is using an
interdisciplinary approach; the
representation of politics mixes with ideas
and methods from philosophy, poetry, and
history. The media includes video,
reenactment, photo, text, and installation.
With her practice she challenges the
political, ethical, social, and institutional
issues in order to discuss them through
another perspective. She is interested in
what is left out of the collective history
and why, especially in regards to the
official writing of history. Several of her
works address the institution and the
museum as a place for the public, as
public space, and as an organization. As
part of her practice, she has regularly
”the first Vietnam protester” when he was
arrested at Hötorget in Stockholm after
standing there with a placard saying
”USA get out of Vietnam.” Even though
he had a permit to demonstrate, he was
arrested for disorderly conduct and
resisting arrest. The arrest got a lot of
attention and helped the emerging
Vietnam movement on its way. Matthis
was then involved in starting De förenade
FNL-grupperna (DFFG) (The United
NLF Groups), which grew to be one of
the west’s strongest NLF solidarity
movements during the Vietnam war. In
2003, Matthis was also involved in starting
Nätverket mot krig (The Network
against war), which arranged protests
against the USA's invasion of Iraq. In
2005, he was involved in the founding of
the organisation Iraksolidaritet (Iraq
solidarity), which is exclusively occupied
with the Iraq issue.
. .
Leonard Neuger (b. 1947 in Krakow)
studied at the Jagiellonian univeristetet,
and took his PhD at the Silesian University
in Katowice. Since 1983, he has being living
in Sweden after having received political
asylum. In 2000, he became a professor at
Stockholm University. From 2004-2007,
What happened with the art of the strike?

he was Head of the Department of Slavic
Languages, and since 2011, he has been a
professor at Södertörn University and
Honorary Professor at the Silesian
University. Alongside his research, he deals
with translation of Swedish literature into
Polish. (O of CM Bellman, EJStagnelius
T. Tranströmer, K. Frostenson, H.
Martinson, R. tower Borg, M. Florin.) He
has published about 200 scientific texts and
also published the following books:
Pomysły do intepretacji. Studia in szkice
o literaturze Polskiej (Cracow 1997),
Z perspektywy tłumacza. Szkice o poezji
szwedzkiej (Cracow 1997), Cwiczenia z
wrazliwosci. Duze in Male szkice
literackie (Katowice 2006), and translated
Marcia Schuback's book Lovtal till intet.
Essäer ni filosofisk hermenutik
(Pochwała nicosci. Eseje z hermeneutyki
filozoficznej), Kraków 2008.
Cecilia Nilsson in an actor educated at
the Swedish National Academy of Mime
and Acting (now called Stockholm
Academy of Dramatic Arts) from 1978 to
1981. She has worked with theatre, TV,
film, etc. and since 1999 has been a part of
TeaterAlliansen. In 2012 she acted in
Den flygade handläggaren (The Flying
historical event, and what templates have
been created to express and think through
personal memories.
Eva Persson. To, as I did, come from the
world of the museum to being an
exhibition producer at Riksutställningar
was like coming to heaven. The year was
1967 and Riksutställningar (The Swedish
Travelling Exhibitions) had just started
their work as an ambulant space for
exhibitions where all voices should be
heard. I invited artists, journalists, writers,
musicians, photographers, and architects
that I liked to be responsible for their own
exhibitions. In 1989, I was asked to
become the artistic director and exhibition
producer at Arbetets Museum (Museum
of Work) in Norrköping, and stayed there
until the freedom that I had gotten used to
at Riksutställningar disappeared. In 1997,
I became a teacher in the theory and
practice of exhibitions at a new program
in Culture, Society and Media production
at Linköping University-Norrköping
Campus. During my final years there, I
started a webpage about exhibition
aesthetics (www.ueforum.se). Today it is
run by a younger generation. In respect of
my age, today I only devote myself to
translate
Administrator) at Uppsala Stadsteater,
and is currently acting in Den goda
människan (The Good Person) at Teater
Reflex in Kärrtorp. In 2009, in conjunction
with the 30 year anniversary of the strike,
in a project within Riksteatern, she
initiated open readings of America Vera-
Zavalas play Viskleken i Svappavaara,
Kiruna och Gällivare (Chinese Whispers
in Svappavaara, Kiruna and Gällivare. In
2012 Cecilia Nilsson got the Swedish
filmindustry's award - Guldbaggen for her
role in the film Simon och ekarna.
Robert Nilsson is a Phd student at the
Department of History at Stockholm's
University and is active within the
Research School of Studies in Cultural
History. Since 2012 he has been working
on a thesis about the memories of the
miners’ strike at LKAB's mines during the
winter of 1969-70. Nilsson’s thesis is
realized through oral history, which means
that the people who participated in the
strike are invited to interpret its historical
value. The thesis reproduces the passage
of events of the strike as the former
strikers have wanted to remember it. At
the same time the thesis problematizes
how the strike has been portrayed as a
historiography. Shortly I will finish a study
of the development of the aesthetics of
museum exhibitions.
Irina Sandomirskaja, born 1959. 1991
PhD in Linguistics from Institute of
Linguistics, USSR Academy of Sciences,
Moscow. SCAS scholar in 1996-98.
Currently Professor in Cultural Studies,
Södertörn University. Academic interests:
Russian and Soviet cultural history,
language theory and language philosophy,
critical theory. Member in research project
Loss of grounds as a Common ground
(Södertörn University). My latest research
is concentrated on language, body, and
biopolitics which I study using the
material from Soviet deaf-blind education
(Soviet subjectivity from the point of view
of the politics of perception and
disability) and the siege of Leningrad
(knowledge, critique, and writing as
related to the technologies of political
censorship, biopolitical administration,
and mass extermination). Related
publications: “Bez stali i leni: Aesopian
Language and Legitimacy”. In: Per-Arne
Bodin, Stefan Hedlund, Elena Namli
(eds), Power and Legitimacy:
Challenges from Russia, London:
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Routledge, 2012, pp. 126-136; "The
Leviathan, or Language in Besiegement:
Lydia Ginzburg’s Prolegomena to Critical
Discourse Analysis". In: Van Buskirk,
E.S., Zorin, A. & Ginzburg, L. (red.)
(2012). Lydia Ginzburg's alternative
literary identities: a collection of
articles and new translations. Peter
Lang : Oxford, 2012, pp. 193-234; "Skin to
Skin: Language in the Soviet Education of
Deaf–Blind Children, the 1920s and
1930s". Studies in East European
Thought (2008).
Pär Stolpe (b. 1943) was a curator at
Moderna Museet and led the museum’s
support of the striking miners in 1969. He
was also responsible for the museum’s
experimental project Filialen, which
aimed to renew the museum exhibitions
over three years at the beginning of the
1970s. He worked with Pontus Hultén in
the City of Stockholm’s committee of
experts for Kulturhuset (The Culture
House) at Sergels torg. Over several years
during the 1980s, he participated in the
cultural-political debate through posts in
Dagens Nyheter, Aftonbladet, LOtidningen
and at the radio and on TV. He
has worked at Pistolteatern, Sveriges
in Paris, professor in Art and Technology,
and responsible for the international cultural
exchange program at the Nordic Council in
Copenhagen. He is currently running
HotHouse A3 for young filmmakers and
photographers in Stockholm.
Margareta Vinterheden and Alf
Israelsson have their roots in
Malmberget. Vinterheden comes from a
miners family and Israelsson has worked
as an engineer at LKAB. They have
worked with film since the 1960s. Their
film production includes Indifference
(1967), Gruvstrejken 69/70 (Miners strike)
(1970), the portrait of workers in Man
måste ju leva (One has to live) (1978) and
Blinka lilla stjärna (Twinkle twinkle little
star) (1987), a film about children playing
the violin. Vinterheden has also done
research on women's situation in the film
industry. She attended the directing
program at DI (today StDH) and she has
a degree in Psychology. She has kept her
connection with Norrbotten through her
work as a psychologist within
Malmfälten's psychiatry in Gällivare/
Kiruna. She has also worked as a
neuropsychologist at a memory disorders
unit in Stockholm. Israelsson is working
8
Radio, Svenska Institutet, Statens
Kulturråd, Sjöhistoriska museet,
Riksutställningar, and SVT.
Gustav Strandberg is a doctoral student in
philosophy at Södertörn University where
he is working on a dissertation project on
the Czech philosopher Jan Patockas’s
political phenomenology. Besides the work
on the dissertation, his main research
interests are in phenomenology and
political philosophy as well as the issues
that arise at the intersection of these
disciplines. Among his previous publications
following can be mentioned: "Med Arendt
bortom Arendt – Jan Patockas läsning av
Människans villkor” (Axlbooks, 2011) samt
"Carl Schmitt och det politiskas intensitet"
(Daidalos, 2012).
Carl Henrik Svenstedt is a filmmaker,
writer, and a contemporary debater. He has
published around 20 books: prose, poetry,
and journalism. The most recent is the novel
Sprängskiss and the poetry collection
Befintligt ljus. His film production consists
of documentaries, and experimental art
films; the most recent ones are Tidens gång
and Änglastämman. He has been the
director of the Swedish cultural centre CCS
within the field of technical design.
Louise Waldén has a PhD in Technology
and Social Change, and is also a researcher
in gender studies specializing in women’s
history regarding everyday life. She was
involved in starting the women’s group
Grupp 8. She produced the record album
Sånger om kvinnor (Songs about women)
(together with Suzanne Osten) and the
exhibitions Kvinnor at Moderna Museet
and Kvinnfolk at (among other places)
Kulturhuset in Stockholm.
Kjell Östberg is a professor and a
principal scientific officer at the Institute
of Contemporary History at Södertörn
University. His research has touched
upon subjects regarding new and old
social movements. Among his writing is
1968 – När allting var i rörelse.
What happened with the art of the strike?

List of artworks following a counterclockwise
order 1 :
1. Dunér, Sten
Nyköping Fantasy
Around a City Planning (1969)
Drawing
2. Jonsson, Bjorn
The Threat
Collage
3. Cassel, Carin
Unconstrained
Oil
4. Strandqvist, Kjell
Stereometric Forms (1968)
Drawing
5. Renqvist, Torsten
(1960)
Print
6. Katzin, Sonja
Horse Heads
Mixed media
14. Haag, Lars I
The Broken Life (1968)
Print
15. Emsheimer, Mia
Rhythm in Blue
Mixed media
16. Sjödahl, Anna
Cabinet Image (1967)
Mixed media
17. Carlstedt, Margareta
Water games
Enamel
18-22. Sjöström, Fritz
Beach Residents I – V (1963)
Drawing
23. Berg, Bertil
During the Strike (1963-1969)
Print
24. Andersson, Fred
420 m level LKAB mine (1964)
Oil
25. Wåhlström, Per
Variations on a Helmet (1969), drawing
translate
7. Renqvist, Torsten
(1963-1964)
Print
8. Olsson, Torfrid
A Stroll on the Wonderful Earth
Drawing
9. Fischer, Randi
Pattern (1949)
Print
10. Vallman, Uno
(1958)
Print
11. Hedquist, Tage
Afternoon (1967)
Watercolor
12. Derkert, Siri
The Woman Is Discriminated In the Society
of Men
Collage
13. Carlstedt, Margareta
Primary Life
Enamel
26. Bergmark, Torsten
Long Beach, Calif. 1965 (1969
Drawing
27. Wognum, Henck
Hole in the Mountain (1970)
Mixed media
28. Delefors, Bengt
On Strike
Oil
29. Alvperi, L
Mirror Image of a Volvo
Oil
30. Bornholm, Martin
Waiting (1968)
Collage
31-33., 36.
Amelin, Albin
H.C.
Print
34. Amelin, Albin
Print
35. Amelin, Albin
The Sundsvall Strike of 1879, print
9

37. Filén, Ragnar
Hungry (1969)
Oil
38. Hennix, Doris
Glassblowers
Oil
39. Skoog, Barbro
Long Live the People's Struggle
Againt the Oppressors (1969)
Print
40. Gustavsson, Gösta
Blaenau Ffestiniog, Wales II (1969)
41. Lindgren, Hans
Hold on! (1970)
Print
42. Tobiasson, Astrid
House Facades (1967)
Print
43. Blomberg, Bjorn
Maybe Some Clover to Take Away
Print
44. Blomberg, Bjorn
Big Meeting
53. Tobiasson, Astrid
Man with Hat (1947)
Drawing
54. Törning, Erik
The Newspaper Reader
55. Almlöf, Bertil
The News (1969)
Print
56. Hillersberg, Lars
(1964)
Poster
57. Ekvall, Hans
Folk Life
Drawing
58. Abram-Nilsson, Kerstin
Picture from Somalia
Print
59. Goldman-Grosin, Ruth
The Oppressor’s Boots (1969)
Print
60. Hansson, Berta
Oil
10
45. Blomberg, Bjorn
So it Should
46. Blomberg, Bjorn
The Tycoon
47. Blomberg, Bjorn
Demonstration
48. Folcker, Göran
Society Critical Applecores (1969)
Print
49. Hallander, Karl Johan
Pressures (1967)
Oil
50. Norrman, Solveig
The Spaghetti Eater (1968)
Print
51. Hillersberg, Lars
Pollock
Poster
52. Bäckström, Claes
Undressing
Drawing
61. Friberg, Gunnar
Relief
62. Ljungberg, Sven
Out of Hercules
Print
63. Tobiasson, Astrid
Baby Face (1968)
Drawing
64. Zetterqvist, Jörgen
Mother and Child (1969)
Drawing
65. Bodner, Karl Erik
Everyone Is in the Same Boat -
but It Has Stranded
Print
66. Goldman-Grosin, Ruth
On the Sunny Jetty (1968)
Print
67. Lindekrantz, Per
Färjestaden
Oil
What happened with the art of the strike?

68. Lind, Folke
The Tourist in Tjuonavagge (1968)
Drawing
69. Wigert, Hans
One
Print
70. Wigert, Hans
Two
Print
71. Wigert, Hans
Three
Print
72-74. Beatrice, Heybrock
(1970)
Drawing
75. Forseth, Einar
From Luleå River Study Norrland
Mountains the Forest (1942-1943)
Watercolor
76. Harjuu, Sara
The Grave Digger (1967)
Print
84. Gustafsson, Gunnar
Motif from Gastligione
Oil
85. Apelman Öberg, Nils
Cloud Bank over Låhtajaure (1945)
Oil
86. Rolf, Lars
Mountain Spring (1968)
Watercolor
87-91.
Rudberg, Gustav
Hven
translate
77. Olsson Arle, Lizzie
Jökel (1963)
Watercolor
78. Johnson Ekvall, Gun
Sunset in Spain
Drawing
79. Johansson, Ragnar
Bright Fall Day in Abisko
Oil
80. Tobiasson, Astrid
Harbour by a Mountain
Drawing
81. Von Rosen, Björn
The Stoneman and the Water
Illustration to a Poem in Vi
Drawing
82. Munthe de Wolfe, Astrid
The Gate
Oil
83. Rolf, Lars
Faroe Islands
Drawing
1 Miners Art Collection: Wrong display of
names of artists, titles and years of the art
works in the list may occur. The art works
donated to the striking miners were sent
to Malmfälten at various times during the
strike. Strike Committee member Östen
Öhlund, Malmberget, drew up a list of the
art collection in the 70s. For decades, the
art works had been scattered in various
public venues in Malmberget. The list has
since the 2000s been supplemented at various
times as the art inventory of Gällivare
museum. As late as 2009 came in some
30 works from ABF to Gällivare museum.
11

12 What happened with the art of the strike?