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Ture Sjolander

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Professor Dr. Bjorn Hallstrom, TIME, 1976
In the short history of video animation the Swedish artists TURE SJOLANDER and BROR WIKSTROM are the pioneers. Their television art programme TIME (1965 - 1966) seems to be the first distortion of video-scan-line rasters achieved by applying tones from wave form generators.

For almost ten years they have been using electronic image-making equipment for a non-traditional statement. It  must be kept in mind, however that SJOLANDER and WIKSTROM have a traditional and solid artistic background. Howard Klein likens the relationship between the video artist and his hardware to that between Ingres and the graphite pencil. It should be added that real artists like SJOLANDER and WIKSTROM have a natural relationship to any image-making equipment. In that respect they differ from most cameramen and tape makers and they may come back some day as pioneers in other fields of art.

In fact they have already surpassed the limits of video and TV using the electronic hardware to produce pictures which can be applied as prints, wall paintings and tapestries.

They have generously provided new possibilities to other artists, they are not working alone on a monument of their own.

It is significant that the Royal Swedish Academy of Fine Arts has decided to support SJOLANDER and WIKSTROM financially.
Professor Dr. Bjorn Hallstrom
                          Royal Swedish Academy of Fine Art.
                          Stockholm - 1976

Öyvind Fahlström, about Sjolander, 1961

We live at a time when borders between the art forms are constantly being redrawn or abolished. Poets arrange their poems as pictorial compositions or record spoken sequences of sound which can hardly be distinguished from musique concrète. Composers are able to build a complete composition around the manipulation of a spoken voice. Artists sometimes create pictures by striking off newspaper photographs or mixing conglomerates of discarded objects and painted areas into something which is neither picture nor sculpture. Puppet theatre is performed by setting mobiles in motion in the constantly changing light effects on a stage.

The border between photography and painting is no longer clear, either, and it is easy to understand why this is so. Tinguély, the creator of mobiles, started out by making a form of reliefs with moving parts, powered by a machine placed at the back of them. After a while Tinguély began to wonder why he could not equally well show the play of cog wheels and driving belts at the rear and let Amachine" and Ashapes" become a united whole.

Similarly, some photographers have asked themselves why the action of light on photo paper and the development baths could not become a creative process comparable with the exposure of a motif C why camera work and darkroom work could not become one.

Among those photographers we find Ture Sjölander. Among those photo graphic artists, as he calls them, who feel dissatisfied  with the dialectic of the traditional photographer's relationship to his motif: when he searches for his motif, he is the sovereign master of it, choosing and rejecting it C. At the very moment that he touches the trigger, he has become enslaved to the motif, without any possibility (other than in terms of light gradation) to do what a painter does C reshape, exclude, and emphasize in the motif.

This subjection to the motif does not have to be disrupted by eliminating the motif. The photographer simply needs to remove  the limits to what is permitted and what is not allowed. To let the copy of a photo remain in the water bath for an hour is allowed (if you want to keep the motif). But leaving it there for a couple of days is the right thing as well (if you want to let the  motif diffuse into deformations soft and silky as fur). Scratching with a needle or a razor blade is making accidents with scratches into a virtue C and so on.

In addition, there is the chance of manipulating a figurative or non-figurative motif by copying different pictorial elements into it, by enlargements which elevate previously imperceptible structures to the visible level, even up to monumental dimensions. The  tension between scratching lines of light into a developed (black) negative the size of a matchbox and enlarging it on the Agfa papers the size of a bed sheet. This is where the photographer has at his command tricks of his art which the painter lacks, or at  any rate seldom uses.

But on the other hand, is the photographer able freely to experiment with the colour? Yes, he is C if he brushes paint on to the negative and makes a colour copy.

He may also, like Ture Sjölander, brush, pour, draw etc. on a photo paper C possibly with a background copied on to it C with water, developing or fixing sodium thiosulphite solutions, ferrocyanide of potassium and other liquids. In that case the result  is a single, once-only, art work. In this way he is able to achieve a tempered and melting colour scale of white, sepia, ochre,  thunder cloud grey, verdigris, silver and possibly also certain blue and red tones.

In this area, however, it seems everything still remains to be done C but one single photographer's resources are not enough for the experiments to be conducted widely and in depth. Sweden has recently inaugurated its first studio of electronic music.

When will photographers and painters be given the opportunity to explore this no-man's-land between their time-honoured frontlines?

But can photography, in principle, be equal to painting? Is not the glossy, non-handmade character of the photo an obstacle? People have argued in a similar way about enamel work, but that technique is now recognised as totally and completely of a  kind with the painted picture. If we adjust the focus of the Aconventional painting concept" when we are looking at photo

painting, we will perchance discover that in its singular immaterial quality it can possess new and suggestive value.

Öyvind Fahlström
Stockholm, 1961.
Translation from Swedish by Birgitta Sharpe

TIME, 1966-69

               "VIDEOART" ELECTRONIC PAINTINGS - TELEVISED 1966 - 1967 - 1969.

1965."The role of Photography" Commissioned by the National Swedish Television year 1964. B/w.   Multimedia/electronic experiment. 30 minutes.

1966."TIME" - b/w, Commissioned by the National Swedish Television. Electronic paintings televised in  September 1996. 30 minutes. A video synthesizer was temporarily built, in spite of the TV-technicians  apprehension. (Same technical system was later used to create MONUMENT one year later, 1967.) See  letters from RUTT ELECTROPHYSICS, NY, USA dated March 12, 1974, below *. In principle this process is similar to methods used by Nam June Paik and others, same years later. Rutt&Etra . Nam June Paik visited Elektronmusic Studion in Stockholm July/August 1966 , during the Festival; "Visions of Now". Static  pictures from TIME was demonstrated for Paik at this point in time. Parts of "TIME" was planned to be send via satellite to New York, but the American participants, pulled out. "TIME" is the very first  'videoart'-work televised as an ultimate exhibition/installation statement, televised at that point in 'time' for the reason to produce an historical record as well as an evidence of 'original' visual free art, made with the electronic medium - manipulation of the electronic signal - and 'exhibited/installed through the televison,  televised. The work was commenced early 1966. Painting on canvass and paper was made from the static  material, in silk-screen prints, for a large numbers of Fine Arts Galleries and Museums 1966, ironically in a  'limited edition', signed and numbered.

1967."MONUMENT" - b/w. Electronic paintings televised in 5 European Nations; France, Italy, Sweden, Germany and Switzerland, 1968. Monument reached an audience of more than 150 million. The work   surpassed the limits of Avideoart" - a word first used in the beginning of 1970 - 73 - and was developed into   an extended communication project, multimedia artwork including creation of tapestries, silk/screen prints,  poster, LP/Record Music, paintings on canvass, and a book among other thing, exhibited in several   international Fine Arts Galleries.
1968.See text on site from; Gene Youngbloods book "Expanded Cinema". 1970.

1969."SPACE IN THE BRAIN" - 30 minutes. First colour electronic original painting where the electronic signal  where manipulated. Described in media as a Space Opera. Based on authentic material delivered from NASA. Space in the Brain was a creation dealing with the space out there - the space in our brains and the  electronic space. (in television) Contemporary to Clarke's 2001, except that the Picture it self was scrutinized and focused, in Space in the Brain. The Static material from the electronic paintings was worked out into other medias and materials, as in "TIME" and "MONUMENT", see above.

1970.A bestseller posters was produced, worldwide distributed. Scan-Décor Upsala. LP/Record named: "Man at the Moon". Televised 1969, weeks after the Moonlanding. Commisioned by National Swedish Television

Letter from: RUTT ELECTROPHYSICS, March 12, 1974

Signed by Sherman Price.

To: International Section of Swedish National Television, Stockholm, Sweden.


I am writing a detailed magazine article about the history of video animation.

From literature avaiable I gather that a videofilm program, "MONUMENT", broadcast in Stockholm in January,1968, was the first distortion of video scan-line rasters achieved by applying tones from wave form generators.

This is of such great importance - historically - that I would like to obtain more detailed documentation of the program and of the electronic circuitry employed to manipulate the video images.

I understand from your New York office that there may have been a brochure or booklet published about the program.

I will be happy to pay any expense for publications, photcopies or other documents about the program and its production -particulary with regard to the method of modulating the deflection voltage in the flying-spot telecine used.

AVideo synthesis" is becoming a prominent technique in TV production here in the United States, and I think it will be interesting to give credit to your broadcasting system and personal for achieving this historic innovation.

Letter from the Manager of THE PINK FLOYD, 1967

Stockholm, Septembre 11th 1967.

Dear Messrs Sjolander & Weck,
Having seen your interesting Stockholm exhibition of portraits of the King of Sweden made with advanced  electronic techniques I have been struck by the connection between this new type of image creating and the  music-and-light art presented by The Pink Floyd.

I think that your work could and should be linked with the music of The Pink Floyd in a television production, and I  would like to suggest that we start arranging the practical details for such a production immedialtely. With all his experiences from filming in the USA and elsewhere I also feel that Mr. Lars Swanberg is the ideal man tp help us  made the film.

Please get in touch as soon as possible.
Yours sincerely
Andrew King

Kristian Romare, Monument, 1968

The following text was written by the Swedish Art Writer KRISTIAN ROMARE 1968.

MONUMENT     electronic painting 1968 by TURE SJOLANDER/LARS WECK
We create pictures. We form conceptions of all the objects of our experience. When talking to each other our conversation emerges in the form of descriptions. In that way we understand one another.

Instantaneous communication in all directions. Our world in television! The world in image and the image in the world: at the same moment, in   the consciousness and in the eyes of millions.

The true multi-images is not substance but process-interplay between people.

 "Photography freed us from old concepts", said the artist Matisse. For the first time it showed us the object freed from emotion.

 Likewise satellites showed us for the first time the image of the earth from the outside. Art abandoned representation for the transformational and constructional process of depiction, and Marcel Duchamp shifted our attention to the image-observer relation.

 That, too, was perhaps like viewing a planet from the outside. Meta-art: observing art from the outside. That awareness has been driben further. The function of an artist is more and more becoming like that of a creative revisor, investigator and transformer of communication and our awareness of them.

Multi-art was an attempt to widen the circulation of artist's individual pictures. But a radical multi-art should not, of course, stop the mass  production of works of art: it should proceed towards an artistic development of the mass-image.

  MONUMENT is such a step. What has compelled TURE SJOLANDER and LARS WECK is not so much a technical curiosity as a need to  develop a widened, pictorially communicative awareness.

 They can advance the effort further in other directions. But here they have manipulated the electronic transformations of the telecine and the identifications triggered in us by well-known faces, our monuments. They are focal points. Every translation influences our perception. In our
vision the optical image is rectified by inversion. The electronic translation represented by the television image contains numerous deformations, which the technicians with their instruments and the viewers by adjusting their sets usually collaborate in rendering  unnoticeable.

 MONUMENT makes these visible, uses them as instruments, renders the television image itself visible in a new way. And suddenly there is an image-generator, which - fully exploited - would be able to fill galleries and supply entire pattern factories with fantastic visual abstractions and ornaments.

Utterly beyond human imagination.

SJOLANDER and WECK have made silkscreen pictures from film frames. These stills are visual. But with television, screen images move and  effect us as mimics, gestures, convultions. With remarkable pleasure we sense pulse and breathing in the electronic movement. The images
become irradiated reliefs and contours, ever changing as they are traced by the electronic finger of the telecine.

With their production, MONUMENT, SJOLANDER and WECK have demonstrated what has also been maintained by Marshall McLuhan: that  the medium of television is tactile and sculptural.

 The Foundation for MONUMENT was the fact that television, as no other medium, draws the viewers into an intimate co-creativity. A maximum  of identification - the Swedish King, The Beatles, Chaplin, Picasso, Hitler etc, - and a maximum of deformation.

A language that engages our total instinct for abstraction and recognition.

Vital and new graphic communication. A television Art.

Kristian Romare, Sweden 1968

( from the book MONUMENT authors Ture Sjolander&Lars Weck)

Tapes available at Swedish Television. 
Tapes also available at

"The Role of Photography" 1965  (17 minutes)
"TIME" 1966
"SPACE in the BRAIN" 1969
(approx. time all together: 50 minutes)

The Royal Highness
Ture Sjolander Flickr
Google Australia Search Not The Swedish Engine rather Unbubble eu
All electronic phone and mail communications are bugged by others.
I'm not the only one who have my "own"  password to my "own account"  any more.
Neither are you...
There is still millions of people all around the  world who think they have privacy.
Funny idiots!
31 march - 2 april 1998


 The Play












Conference Papers

Three papers

  • on technology

Ture Sjölander

Ture Sjölander,

The Inpact of New Technology on the Development of Culture



a. An annual 3-week internation satelliteTV high-tech art festivaL

b. Commercialise peace via satellite

c. An international lobby group: to connect all TV-systems of the world

- SATELLITE is the medium

- COMMUNICATIONS is the means

- PEACE is the message




The following text was written in 1973. It will be used as a basis for Mr Sjölanders comments today, 25 years later.




For the creation of paintings, works of graphic art, free-standing sculptures and reliefs there is a fairly limited number of materials and techniques; these have changed relatively little during the last 300 years.


Even though new materials and methods have developed, the artistic techniques in the areas of painting, graphic arts and sculpture have kept their traditional character. A painting on canvas today has a technical structure largely similar to that of a seventeenth century painting.


The possibility of giving pictorial expression to the artist's message is however not tied to traditional methods. For the majority of people in the industrial countries, television, video newspapers and advertising have become the dominant transmitters of pictures and visual images. Television and video in particular have come to extend more and more widely through the global development of distribution systems, and are frequently used as a medium for other art forms, such as film, theatre and pictorial arts.


In this context it should be emphasised that it is journalists, above all, who have been recruited to these areas and who have therefore had an opportunity of exploiting the particular and specialised resources which television and video have at their disposal. The fact that pictorial artists occupy a subordinate position would seem partly to be connected with the fact that art schools still limit their educational role to the traditional creation of static images.




The work of artistic/technical development presupposes that artists have access to specialised technical studio equipment.


Television has been in existence now for almost 50 years. During this period a significant number of cultural programmes have been made by artists. Very rarely, however, have these artists produced works directly intended/designed for this medium. Although television per se is a pictorial medium, it has primarily been used to transmit words. The stress has been laid on 'tele' or the transporting/transmitting aspects of the medium, and comparatively little attention has been paid to the conceptual element of 'vision'; that is to say those aspects having to do with the language of the images themselves.


If one looks back on the history of art and makes comparisons with the visual aesthetics used in television today, one is struck be the fact that the greater proportion of all television production today uses visual aesthetics dating back to the 16th century. As an example we may mention the aesthetics of Cubism: this implied a visualisation of several different points of view being given simultaneous expression and coinciding with the discoveries by modern physics of Time and Space being only relative and not absolutely fixed structures.


Cubism dates back more than 50 years, and yet, in a television programme a few years ago it would be unthinkable to use Cubist visual aesthetics.





This situation is however changing rapidly at the present moment. During the last decades or so, a series of international artists have initiated the construction of elctronic image laboratories, where they pursue the development of new art forms through experimental techniques.


Those internatinal artists who have access to modern electronic technology have been given the opportunity of realising, by a creative process, their ideas concerning a truly visually-oriented language. Artists with many different points of view and modes of expression have begun working with computer/electronics/video, taking their point of departure in their previous knowledge and training. Painters, sculptors, musicians, photographers, composers, choreographers and others have approached this medium with their own particular talents and creative methodology and all have contributed to media development in the area of television film and video and to a visual language characterised by greater awareness and creativity.


International electronic music studios have conducted its work of development in music for nearly 30 years, those artists who have been engaged in similar work within the visual arts field are mostly still obliged to manage completely without any corresponding access to electronic equipment.


In a number of countries considerable sums have been invested, for many years, in facilities for practical experimentation in both the visual and audio areas.






The creation of electronic images (sometimes called 'video art'), is an artistic development of visual language. Modern 'electronics' can convert sound vibrations into visual structures, and image components into patterns of sound, thereby giving visual expression to basic processes such as growth and change. The essential definition of 'video art' is based on the manipulation of video signals. Apart from the use of video to realise a series of images in a temporal sequence, artists can also exploit television as a physical, sculptural, object. At galleries they make 'installations' or 'environments' by placing one or more monitors or giant screen projections in specific, related positions. Video cameras, too, 'incorporate' the spectator into the work. In this way, it is possible to explore perceptions of what is seen, as well as the psychology of seeing, in a living context.


An electronic image laboratory, however, should not be limited to video. Another related area is the so-called computer animation (computer-assisted and/or computer-generated images). This technique is based on advanced forms of programming and opens up hiterto unimagined possibilities of free-image composition.


With the aid of electronics and laser the static image, too, will have an interesting development in the fields of painting and graphic arts. Attempts in this direction have been demonstrated in the form of 'video paintings', or more precisely, electronic painting and computer art.






Those who claim that we live today in a visually oriented culture are probably word-blind. Today's visual art and visual media, with the possible exception of painting, still bear a master-slave relationship to elite literature and popular journalism - in the beginning was the Word. The word is power. People who can express themselves well and forcefully in speech and writing, more or less automatically achieve positions of power... while people who express themselves well in pictures, must often support themselves through stipends and other grants.


The producers of words dominate the cultural columns of newspapers, control official cultural policy and the most important visual media. And generally exert a damnably important influence on society. The arts in Sweden are infested by the speech chorus and the clatter of typewriters. Authors write screenplays and become film directors. Journalists become television producers (or programme directors) and make TV-films. Our entire culture is beset by word-producers. Authors, journalists, investigators, letter-writers, polemicists and critics. Who, in fact, knows anything about pictures? And why do we understand so little about visual semantics? Photography and motion pictures have existed for 100 years, television for 50. Despite this, pictures have not attained more than a purely illustrative function. Why? Probably, because most of our pictures are created by Word-people. In fact, roughly half the items on TV today could just as well be broadcast on radio instead.


Ture Sjölander 1973




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Ture Sjolander

Last Name: 
First Name: 

Societies: 1981 - 1982. Elected Secretary and Member of the Board of the National Association of Professional Swedish Visual Arts - K.R.O - Konstnarernas Riks Organisation Stockholm - with over 6.000 members. 1979 - 1986. Elected as the first Director and Chairperson of the Board, while Curator/ Administrator of the former Swedish National Artist Organisation, VIDEO-NU, Stockholm, an Art Laboratory for new electronic technology financially assisted by the Swedish Government and the Stockholm City Council (200 individual and 15 corporate mem bers) Represented: Paintings: Museum of Modern Art, Stockholm, Sweden. National Museum, Stockholm, Sweden. Gothenburg's Art Museum, Gothenburg, Sweden. Sundsvalls Museum, Sundvall, Sweden. Family of Charles Chaplins private collection Switzerland. Swedish National Television collection Stockholm, Sweden. The Australian Embassy in Beijing, China. The City Council of Changchun, China. James Cooks University, North Queensland, Australia Qingdao Municipal Museum, China. Sculptures: '97 China Changchun City, International Invitation Exhibition of Sculpture - Permanent installation of two-of-a kind, 3 meters marble-sculptures, at the Culture Square. Alvdalens County collection, Sweden. Stone of Alvdalskvartsit. County Council, Falun City, Sweden. Stone of kvartsit. Thirty public artworks in Sweden and in addition; international corporate and private collections in USA, Australia,Europe and China. AWARDS AND GRANTS; The Royal Swedish Academy of Fine Arts - Top Project Grant 1975 for pioneering electronic Artworks since 1966 and for the development of art&technology, 'video-art'. The Ministry for the Arts, Development Grant, Oueensland State Government, Australia, 1992. The Royal Fund for Swedish Culture - Video&Television installation/experiment, 1966. The Swedish Government Ministry for Arts, Project Grant for New Media Experiment1962. Stockholm City Council, Department for Arts, Project Grant - experimental photo- graphics - lightpainting, 1962. Bibliography: Memeless Threshold & Digitala Demoner, by Gary Svensson, Linkopings Studies in Arts and Science, Linkopings University, Sweden. Publisher: Carlsson Bokforlag, 2000.ISBN 91 72 03 992 2. ISSN 0282-9800. 211 pages. Sjolander pages: 64-65, 104- 113, 129. New Media in Late 20th-Century Art, by Dr. Michael Rush, Harward University, Thames&Hudson , Publisher 1999. Pp. 92 -93 of 224 pages. ISBN 0-500-20329- The Collection Of The Qingdao International Art Exhibiton - China 1999. Catalogue; pp. 11, 296, 316. Published by Chinese Artist's Organisation. ISBN 7-5305-1101-7 Art and Australia ( June 1992 Winter/issue, 3 full pages ) - Fine Art Press Pty Ltd. Australia. The Courier Mail, Queensland, Australia. Saturday, January 25, 1992; 'Artist to fine tune the relevance of art', by Sonia Ulliana. Expanded Cinema (Book) by Gene Youngblood. Introduction by R. Buckminster Fuller. Studio Vista Ltd. 1970. (Pp. 331 - 334). Essere (Vol. 4 1968) by Pierrluigi Albertoni.Tribunale di Milan, 'La Mec-Art' by Pierre Restany (pp. 13, 15 17, 64, 65) Video (Monthly Magazine - January 1979) Linkhouse Publication Group Pty Ltd. UK, 'Video Art at New Castle' by Mandy McIntyre (pp.32-33) Konstrevy (Volume 1) 1963 'Photographic Development' by Kurt Bergengren. (Pp. 10 - 13, and original cover art: 'Ready Maid/Pop Art'. Publisher; Bonniers Bokforlag Sweden. National Swedish Encyclopaedia - ( 'Focus' ) 1967, Publisher; Bonniers Sweden. See 'S' for, Sjölander Ture. An innumerable number of articles in Europe, Australia, China and USA have been published as well as radio and television programs (e.g. catalogue text for installations/exhibitions) by writers as: Pierre Restany, Paris, ÷ivind Fahlström, N.Y., Kristian Romare, Belgium, Prof. Björn Hallström, Stockholm, Pontus Hulten, Bonn, etc. etc . EXHIBITIONS/INSTALLATIONS: Sundsvalls Museum, 1961, (regional Art Gallery Sweden) - Light paintings. Debut. Solo Exhibition. Catalogue foreword by ÷ivind Fahlström. White Chapel Art Gallery - London, UK. 1963. Light paintings. Selected group exhibition. Lunds Konsthall (famous Regional Fine Art Gallery in South Sweden, Lund City) 1965. Simultaneously installation of an outdoor exhibition in Stockholm on billboard space of Monumental size. Solo installations. The 5th Biennale of Paris, France 1967. Selected group exhibition. Catalogue foreword by Pierre Restany. Gallerie Apollinaire - Milan, Italy 1968, Invited to exhibit with contemporary all-Italian artists. Selected group exhibition. Serpentine Gallery, London, UK. 1975. Selected group exhibition The Galleries, Biddick Farm Arts Center, Washington Tyne and Wear, New Castle. UK. 1976 and 1979. Selected group exhibition/installation incl. Bill Viola, Ed Emshwiller etc. Museum of Modern Art, Stockholm Sweden, 1981. Electronic Art, International Exhibition incl. seminars. Selected group exhibition. International Video Art exhibition KULTURHUSET Stockholm Sweden 1982. Selected group exhibition incl. Nam June Paik, Bill Viola, etc etc Museum of Modern Art - Stockholm Sweden, 1985. 'Swedish Contemporary Art' - Six months exhibition. Selected group exhibition. Ethnographic Museum, Stockholm, Sweden, 1987 and 1988. Video/multimedia installa-tion; 'Body Paintings Papua New Guinea' - 'The South Pacific Festival of Art', Solo installation. Gallery Umbrella, North Queensland, Australia, 1991. 'Space - the Image of Wealth 1'. Solo installation. 1997 - China International Sculpture Invitation Exhibition in Changchun, Jilin province. 'Peace, Friendship and Spring' Group exhibition. Foreign artists from 10 nations. Permanent installations of stone sculptures at the Culture Square in the City of Changchun. 1999, CHINA, Qingdao, " Trancentury China International Masterpieces Exhibition '99, August. Paintings. Qingdao Municipal Museum. Jesper Olsson, David Rynell-Ahlen, phd 2016



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'I do not want to be associated with anyone or anything, anymore'
                                                                   -TURE SJOLANDER
                                                                   Me - My own Network


----- Original Message -----
To: Ture Sjolander
Sent: Wednesday, April 24, 2002 1:21 AM
Subject: Förmodad konststöld

Bäste Ture Sjölander,
Du har ställt följande fråga: "Finns det av National Museet inköpta
konstverket (1968) TIME från 1966 fortfarande inom National Museets
samlingar eller kan det vara så att verket saknas av någon outredd
Såsom ansvarig för Nationalmuseums och Moderna Museets gemensamma
depositionsverksamhet vill jag först och främst tacka dig för att du
vidarebefordrat det mejl du fått från Sverige beträffande dina bidrag till
Då och då uppkommer frågor omkring Multikonst och jag har tidigare ägnat en
hel del energi åt att ta reda på hur och när dessa verk kom till
Nationalmuseum. De 12.795 verk ur Multmaximini som övertogs av
Nationalmuseum 1972 är noggrant förtecknade men i depositionsarkiven finns
inga spår över hur vi fick verken från Multikonst och det finns heller inga
anteckningar om vilka som fick kollektioner med Multikonst. En hel del verk
har vi under åren fått tillbaka. Jag har så länge jag verkat inom
depositionsverksamheten inte sett något exemplar av Time. Så mycket kan
sägas att verken tycks ha försetts med en liten etikett med texten "Dep.
från Nationalmuseum" samt en siffra. Vad denna hänför sig till vet jag inte.
Vare sig verken ut Multikonst eller Multimaximini inventariefördes och har
således inte ingått i Nationalmuseums eller Moderna Museets samlingar. De
har utplacerats på statens myndigheter, från början under
depositionsliknande förhållanden. De har sedermera kommit att betraktas som
tillhörande respektive myndighet.
Det händer emellanåt att statliga myndigheter i strid mot
tillsynsförordningen (SFS 1990:195) avyttrar konstverk. På så sätt kommer
det ut verk märkta som depositioner från konstmuseerna utan att vara det. Vi
får flera gånger varje år förfrågningar liknande den vi fått från dig och
lägger ner stor möda på att undersöka varifrån det aktuella verket kan
Sammanfattningsvis kan jag svara dig att "Time" inte ingår i Nationalmuseums
eller i Moderna Museets samlingar.
Jag hoppas du är nöjd med svaret.

Som du säkert känner till ingår i Moderna Museets samlingar två verk av dig,
det grafiska bladet "Gustav VI Adolf" (NMG 272/1967) och "Automatic Light -
Painting on canvas with a coin",
screentryck på duk, 80 diabilder,
karusellprojekor och myntapparat, 166,5 x 148,5 cm utan sockel (MOMB 110)

Med vänlig hälsning
Jan af Burén
T f chef Konstförmedlingen Nationalmuseum.

Sent: Thursday, April 18, 2002 3:46 PM
Subject: Fw: Konst stöld i National Museum ? TILL DEN DET VEDERBÖR.

Till Marita Ulvskog,  Sveriges Kulturminister.
Eller till den det vederbör.
Ingen av ovanstående personer tycks vara villig att utreda nedanstående fråga * .
Ingen heller besvarar min korrespondens.
Med vänlig hälsning
Ture Sjolander

----- Original Message -----
Sent: Wednesday, March 13, 2002 7:35 PM
Subject: Konst stöld i National Museum ? TILL DEN DET VEDERBÖR.

Till den det vederbör 
inom Statens Konstmuseer - National Museum.
Kulturdepartementet - STOCKHOLM

Undertecknad, Ture Sjolander har denna dag mottagit ett beundrar brev från en lycklig konst samlare i Sverige. * Jag känner dock inte personen ifråga men innehållet i E-post meddelandet till mig ger mig anleding att ifrågasätta National Museets handläggning av inköpta konstverk.
Jag hoppas att Kultur Departementet  skall föra denna min undersökning vidare till den auktoritet inom statens konstsamlingar som handlägger dessa ärenden.
Min fråga är följande:
Finns det av National Museet inköpta konstverket  (1968) TIME från 1966 fortfarande inom National Museets samlingar eller kan det vara så att verket saknas av någon outredd anledning.
Verket i fråga finns att betrakta i följande web site:
På båda dessa sajter handlar det om den bild som finns längst upp på sajterna.
Men jag bifogar också en bild som attachment ovan.
Ur  E+post  från den svenska konst samlaren - ovan nämnt - bifogar jag följande ciatat:

> mitt namn är xxxxxxxxxx och jag är numera en
> stolt ägare av 3 st tavlor från Time 1966.
> Det hela började förra Tisdagen då jag och min fru
> Carin beökte stadens loppis (Ulricehamn).
> Loppisen är en sådan som förståndshandikappade
> arbetar på och dom tar emot saker ifrån stadens
> soptipp m.m. (föreståndaren är dock icke
> handikappad). För ungefär ett halvår sedan gjorde vi
> ett riktigt fynd där, en äkta Bengt Lindström för
> 80:- SKr.
> Men som sagt i Tisdags gjorde vi ett fynd som vi
> anser slog detta med god råge. Vi hittade 3 av dina
> och Wikströms tavlor (silkscreen on canvas)
> signerade och numrerade.
> Tyvärrr låg de bland en massa rent skräp som t.ex.
> blomkrukor och hade kanske p.g.a. detta åsamkat sig
> vissa skador (dock kanske inget som en skicklig
> restaurator inte kan fixa, jag vet inte. Måste
> erkänna att jag/vi inte visste så där rysligt mycket
> om dig och detta projekt då jag bara var 9 år då det
> begav sig, men kan berätta att vi är mycket glada
> över dessa tavlor eftersom vi förstått att detta var
> första gången någonsin något liknande gjorts.
> Tavlorna är på baksidan märkta med en liten etikett
> som förkunnar "Dep. från Nationalmuseum" och vår
> första tanke var att kanske de var stulna, men efter
> samtal med dem lugnade dom oss och sa att vissa
> tavlor som "utlånades" på detta sätt inbland fick
> "fötter" men att dom inte bråkade med detta utan sa
> att vi kunde behålla dom.
> Vad har jag mera lärt mig tack vare inköpet av dessa
> tavlor, jo att Eagle Eye och Neneh's pappa hette Don
> Cherry.
> Bifogar en (om än dålig) bild av tavlorna då det
> kanske var länge sedan du såg dom.
> Mvh

> xxxxxxxxxxxx xxxxxxxxxxx

Jag kan naturligtvis översända hela meddelandet senare men jag finner det uppseendeväckande om National Museet agerar och uttalar sig som beskrivits i detta ovanstående meddelande. Jag finner det också respektlöst och förnedrande varande konstnären i detta sammanhang, om Museet tar så lätt på en sådan förfrågan som samlaren dock har gjort till Museet.
Jag vill nu veta om mitt verk fortfarande finns i National Museets samling. Verket deltog också i Multikonst 1968 och konstverket är en milstolpe i en lång internationellt utvecklad konst art.
Med vänlig hälsning
Ture Sjolander


----- Original Message -----
To: Ture Sjolander
Sent: Monday, May 13, 2002 6:27 PM
Subject: Tar svensk journalistik ansvar?? Hundratals verk saknas och skattebetalarnas medel!!!

Vi har tagit emot ditt e-brev.

Och vi har tagit del av din korrespondens ang. dina verk och Nationalmuseum


Margareta Freding
Socialdemokratiska riksdagsgruppens kansli

----- Original Message -----
From: Ture Sjolander
Sent: Thursday, May 09, 2002 1:40 PM
Subject: Riksdagen och saknade verk - hundratals!!!


Svar från Kristdemokraterna och Nationalmuseum angående ett större antal försvunna konstobjekt finanserade med statsmedel.

----- Original Message -----
Sent: Wednesday, May 08, 2002 9:16 PM
Subject: Time

Bäste Ture Sjolander,

jag skriver till dig på uppdrag av Inger Davidson (kd), ordförande i
riksdagens Kulturutskott. Vi har noggrant gått igenom det material som du
har skickat till oss rörande ditt verk som försvunnit från Nationalmuseum.

Självklart förstår vi att det känns tråkigt för dig att ditt verk Time
inte finns i Nationalmuseums ägo, men tydligen har ju verket aldrig
betraktats som tillhörande Nationalmuseum. Ingen vet hur verken kom till
Nationalmuseum och de har aldrig inventarieförtecknats. Istället var det
de myndigheter som fick verken som sedemera betraktats som ägare och
tydligen finns ju ingen anteckning om vilka myndigheter det var. Visste du
om att verket skulle finnas hos Nationalmuseum innan du fick brevet från
den nuvarande ägaren och vet du i så fall hur verken kom dit?

Det är väl känt att Nationalmuseum under en lång tid haft en oacceptabelt
dålig kontroll över de verk som deponerats till olika myndigheter. Det är
inte förrän de senaste 10-20 åren som verksamheten organiserats på ett
sådant sätt att museet har full kontroll över de verk som deponerats.
Naturligtvis är det tragiskt men samtidigt är de svårt att ställa de
nuvarande cheferna till svars för något som hänt före deras tid.

Det är omöjligt för oss att kräva att Nationalmuseum ska ta ansvar för ett
verk som de aldrig har ägt.  Jag hoppas istället att du kan känna glädje
över att verket nu kommit till människor som varmt uppskattar det istället
för att kanske stå och glömmas bort i Nationalmuseums magasin. Du är ju
även redan representerad i Moderna museets samlingar.

med vänlig hälsning
Anna-Karin Adolfsson
Politiskt sakkunnig kulturfrågor


Till den det vederbör.
Kompensations krav och ansvar.
Skall svenska rättsväsendet fortsätta att använda den nuvarande lagen för att skydda regeringens skyldighet till ansvar?
Skall svensk journalistik fortsätta att blunda för att den svenska lagen och den svenska regeringen skall undgå att kompensera oskyldigt häktade personer.
Jag är skakad över regeringens och den svenska lagens attityd och även över att media inte ingriper och informerar sin publik om hur illa det svenska rättsväsendet är konstruerat.
Mitt liv och rykte har helt förstörts genom den internationella publicitet som blev följden av min häktning Januari 1996 och fram till idag. Min kidnappade son, mina släktingar, mina tidigare vänner och samtliga mina affärsbekanta avstår från all kontakt med mig på grund av de misstankar som blivit publicerade. Någon måste begripa vad detta betyder inom den svenska journalistkåren???
Eller sitter sveriges journalister i knäna på denna 'överklass'?
Inget civiliserat land delar den svenska rättsuppfattningen avseende denna fråga:
Med vänliga hälsningar
Ture Sjolander
svensk medborgare
Search Engine Europe
Ture Sjolander