"Amelie Björck see museivisning be performance at the national museum"
"This is a kulturartikel which is a part of Aftonbladet's opinionsjournalistik."
"It must have looked strange to the other visitors at the national museum. A man (Robert Chestnut) in dalkulledräkt hysterically waving a Swedish flag next to Zorn's midsommarmåleri, the face in the schottistakt bobbing audience. What is swedishness, ask Chestnut? What nationalism? What of Carl Larsson, we must censor on his idyllic Swedish interiors to get on the Hemnet? The barrel and the weapons perhaps?"
"it is a great idea to let museivisning and performance to make common cause in the municipal theatre and the National common Transformations. The audience is led through the centuries by four costumed ciceroner, Margareta Gynning, and Alexander Katleb from the museum, Chestnut and Ann Petrén from the municipal theatre. Focus: power, nationalism, and the expression in art."
"Målerihistorien is really made for a critical review: no other konstarts cannon shows so embarrassing abundantly clear that there is a power that orders the History. This will come up as a string of posturing rich, respectively uppfläkta poor bodies (people and animals). High time to deconstruct ”the male gaze”. It is otherwise so easy to just enjoy the beauty and skill in the halls."
"nAnn Petrén, wearing cuirass, pettiskirt and surging wig shows machoposernas tradition from the 1600s to our time. At the same time points out ciceronernas cross-dressing element of the queerhet not least in the 1700s maskeradkultur. Alexander Katleb is delicious that the 1700-talsprimadonna in a high wig and a mustache."
"Is lustfylldheten in självframställandet perhaps a historical constant, although the ytfixering who was then the privilegierades domain has ”democratized”? Today's selfie-culture that maskspel?"
"Gynning contributes with important knowledge relating to the mid-1800s imagery. It is here the poor corpses were coming in, mainly in the form of naked women – exposed-as if they belonged to a different species than the hard nature of the bourgeois women who fainted in front of the porn portraits on vernissagerna. Degas little dancer, I can never more look with naive eyes, after testimonies of how these barnmodeller were hunted down by the ”art lovers” who saw his chance to syfilisfritt lamb. The link to today's trafficking is not far-fetched."
"the distance teaching allocation to enable important links between the kroppsbesattheten then and now. Visningsformens potential to a little more open sensations could in return develop more. Inledningens fine electronic music by a riddarklädd Annelie Nederberg shows a poetic approach when brynjans noise becomes part of the soundscape."
"A reminder of the difference between the articulate of History and sensory History, which remains oomfattbart."