NORDIK Becomes a Full Association
Riitta Ojanperä, Director of Collections Management, Finnish National Gallery, has been a Finnish member of the NORDIK board since 2012. Here she explains the exciting new developments that are placing NORDIK more firmly on the art-historical map
The NORDIK Committee For Art History, which has been active since 1983, has been a great example of the potential of professional networking and collaboration. The organisation of 11 triennial conferences has been based on a scholarly urge to meet the intellectual challenges of art history.
The art history departments of several universities in the Nordic countries, as well as many museum organisations, have been committed to fostering NORDIK’s goals. The network’s continuity has been assured by a functioning board with members representing both the academia and museum fields in Denmark, Finland, Iceland, Norway and Sweden.
Nevertheless, the need to build the Committee’s future on a more solid institutional ground had been stated several years ago. This goal was accomplished when the Committee’s General Assembly met in May this year in Reykjavik, in the context of the 11th NORDIK conference, the first to have been arranged in Iceland.
At the meeting, the General Assembly accepted new regulations for the association named NORDIK (The Nordic Association of Art Historians). One basic advantage of the change from a network to a legal body in the form of an association is the opening of new practical ways for potential fundraising in the future.
The Association’s purpose and its aims, though, have not changed. It still exists to promote co-operation in the Nordic countries, to provide information, and to strengthen contacts between the Nordic and international art history communities. To fulfil its purpose it arranges the NORDIK conference. In addition to this, the new regulations state that the Association can help to arrange other conferences and symposiums, produce publications, and take initiatives that promote research and the education of scholars.
According to NORDIK’s long-established schedule, the next international conference will take place in three years time, in Copenhagen in 2018. The present chair of the Association is Dr Hlynur Helgason, from Iceland, and the chair of the next conference’s organising group is Dr. Henrik Holm from Denmark.
Featured image: Lars-Gunnar Nordström, Composition, 1952, serigraphy, 26,7cm x 44,8cm, Ateneum Art Museum. Photo: Finnish National Gallery / Jouko Könönen
NORDIK Conferences 1984–2015
Nordic Art around the Turn of the Century
Nordic Sponsors of the Arts
Influence and Exchange
The Identity of Art History
Art After 1945
The History of Art History
Tradition and Visual Culture
Mind and Matter
Presentation/Representation/Repression, The Critical Production of Display and Interpretation in Art History
Mapping Uncharted Territories
Interview by Gill Crabbe
The Ateneum Art Museum Director Susanna Pettersson has a close relationship with the Nordic Committee for Art History. Here she explains the vital role played by this innovative organisation
The Director of Helsinki’s Ateneum Art Museum, Susanna Pettersson, has been a guiding influence in the recent history of the Nordic Committee for Art History (NORDIK). When the Committee was first set up in Helsinki in 1984 to promote research networks between Nordic art historians, it identified its main task as organising a triennial NORDIK conference. Nine conferences and almost 30 years on, that task was entrusted to Pettersson when, as chair of the Board from 2010–12, she presided over the organisation of the 10th NORDIK conference, which took place in Stockholm in 2012.
One of the key features of NORDIK is its commitment to bring together scholars from both university and museum contexts, as historically these have been separate organisational strands in the field of art history. As Pettersson explains: ‘If you take the example of the history of the Ateneum, the key people who were Board members of the Finnish Art Society – one of the predecessors of the FNG – were art historians working at the university, so at that time they had feet in both camps. That was the situation until the Second World War.
‘However, after the War people working in the museums formed one team and those at the universities formed another, and they didn’t really communicate too much. This situation continued until the early 1980s – it was very much the case in Finland but it was also the case in other European countries, so setting up the Nordic Committee for Art History as a network brought together people from both camps.
Pettersson firmly believes that the NORDIK conference is a game-changer in bringing art historians together in this way. Among the many benefits of the conference, she identifies three key advantages.
Conference Abstracts from four Finnish delegates
Ålandian Landscape – There’s Always a Meaning in a Seemingly Meaningless Landscape
Anna-Maria Wiljanen, PhD, Executive Director, UPM-Kymmene Cultural Foundation
From the Blade of Grass to Musical Landscapes – Japonisme and Musicality in Nordic Art
Anna-Maria von Bonsdorff, PhD, Senior Curator, Ateneum Art Museum
Tyko Sallinen and the Marginalisation of the Russian Avant-garde in his Art
Timo Huusko, PhDLic., Chief Curator, Ateneum Art Museum, Finnish National Gallery
Technological Utopia versus Cultural Dystopia – Discussing Peripheral Modernisms and Modern Cultural Identities in Finland after the Second World War
Riitta Ojanperä, PhD, Director, Collections Management, Finnish National Gallery