Children’s interaction with art. A study about expressions of art pedagogy in Malmo Konsthallsexhibitions 1975, 1995 and 1975. This essay examines art pedagogy för children in relations to cultural politics and to the examined exhibitions. The study is based on three exhibitions at Malmo Konsthall. The method is inductive, and material has been collected from different places to get access to art pedagogy which is often poorly documented and hard to retrieve fromarchives. Exhibition analysis and reception analysis is combined with interviews and documents from cultural politics in Malmo. The analysis about children’s activities is made from theories about art pedagogy, spatiality and from aspects of cultural politics. The study’s result shows a professionalization of art pedagogy at Malmo Konsthall which coincides with the Swedish development of art pedagogy in general. It also shows a deficiency in archiving and what that means for the research and status of art pedagogy / Uppsatsen undersöker barninriktad konstpedagogik i relation till kulturpolitik samt i relation till gällande utställningar. Undersökningen tar avstamp i tre utställningar på Malmö konsthall, Ögon Blickar / New Media 1 (1975), Anders Österlin - Två sidor! Konstnär. Illustratör (1995) och (Joan Jonas - Light Time Tales (2015). Metoden har varit induktiv och material har samlats från olika håll för att nå konstpedagogik som ofta är bristfälligt dokumenterad och svåråtkomligi arkiv. Utställningsanalys utifrån bilder, planritningar och kataloger och receptionsanalys från press och privata brev kombineras med intervjuer, rapporter, nämndsbudget och reglemente. Analys av barnverksamheten har gjorts utifrån teorier inom pedagogik, konstpedagogik och rumslighet samt genom kulturpolitiska aspekter. Undersökningen visar en professionalisering av konspedagogiken för barn på Malmö Konsthall, som till stor del sammanfaller med den gängse utvecklingen av konstpedagogik och kulturpolitik i Sverige. Undersökningen visar även på bristande arkivering av konstpedagogik samt vad det gör för konstpedagogikens forskning och status.

In recent years the arts institutions’ role in society have changed. With increased demands on attracting greater number of visitors they use concepts from corporate marketing to communicate with greater success. Theories from museum studies show that the importance of rendering authenticity now has become the new imperative in order to retain the status of a reputable institution. This thesis aims to discuss the development of a new visual identity for the public and non-profit institution Malmö konsthall. Through a collaborative working process, the project’s practice part resulted in a visual identity designed to reflect authenticity. The conclusion indicates that it is difficult without extensive studies of the produced design to find out if authenticity is really something that can be rendered intentionally.

This thesis examines how techniques from place marketing, developed to market places, can be used in the process of designing a visual identity for an institution. The thesis is a case study of the development of a new visual identity for the public art institution Malmö konsthall. The essay presents Malmö Konsthall, defines the term visual identity and describes the main principles in place branding. I then define target audiences and key values, discuss the application of place marketing principle and go through the design process of the new visual identity. The process showed that theories about flagship buildings, signature design and signature districts have the biggest influence on the design. The conclusion is that theories from place marketing can be valuable tools for graphic designers, and would benefit from being explored further. Several strategies in place marketing function, mainly those relating to environment and architecture, can be of direct benefit to the designer.

Publicly funded art institutions in Sweden are tasked with the mission of making contemporary art available and accessible to the citizens. This thesis investigates three cases of publicly funded art institutions in Sweden, namely Göteborgs Konsthall, Malmö Konsthall and Liljevalchs Konsthall. The study examines the exhibitions presented by the institutions during the fall of 2023 and how they are curated to be inclusive or exclusive towards visitor groups. By using a model of curatorial values in conjunction with a constructed model of the exhibition as social space, inspired by Henri Lefebvre’s concept “social space”, this research will reveal different strategies used by the institutions for mediating curatorial intentions through the exhibitions.    Empirically the thesis is based on observations of three exhibitions and their visitors and interviews with exhibition hosts. The material is used to examine how the institutions work towards different audiences and how curatorial decisions influence visitor behaviour within the selected institutions.    The results show that the three cases differ in curatorial decisions and values. Further, the social space model used indicates that institutions differ in how they award agency to visitors. The analysis shows that visitors, by acting in unpredictable ways, contribute to the social space of exhibitions in ways not intended by the curator.     In conclusion, this study shows that the mission of the municipality-driven art institution is multifaceted and holds challenges when attempting to engage a broad audience while displaying exhibitions of high artistic integrity. The curatorial choices reflect in the audience and these choices therefore determine who will partake in the exhibition. The curator therefore plays a crucial role in how the exhibitions work with inclusivity.