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This thesis aims to examine if and how gender is framed, presented and problematized in contemporary art exhibitions. To achieve this, exhibitions and the curatorial function at the museums Bildmuseet in Umeå and MAN (Museum Anna Nordlander) in Skellefteå are investigated through interviews and analyses. These were made from a gender theoretical perspective, guided by Judith Butler's poststructural approach, focusing especially on perfomativity and queer. The thesis describes how contemporary art exhibitions can be curated in a gender aware manner. The areas identified as important when it comes to gender aware curation are: including and problematizing gender, educating in gender issues and gender awareness during internal as well as external collaborations. All of the analysed exhibitions contain gender aspects that ​are examined deeper, even though the curators did not intend all of the exhibitions to highlight and problematize gender. In the thesis, it is also discussed what role the curator has in the gender aware work and how gender/sex are represented in the examined exhibitions. It also problematizes the lack of non-binary artist in previous exhibitions of the museums and how this, through different strategies, can be counteracted in order to create a more democratic and inclusive museum.

Avsikten med denna C-uppsats är att undersöka hur samtalet kring svensk konstmuseiarkitektur förts i inhemsk dagspress och fackpress. Detta för att kunna identifiera vilka de rådande diskurserna varit under ett sekel av svensk konstmuseiarkitektur. Två underliggande frågeställningar som också varit relevanta är huruvida dessa diskurser förändrats avseende konstmuseets form, arkitektoniska symbolvärde eller placering i stadsbilden samt huruvida dessa diskurser kan avslöja något om samhällets syn på t.ex. bildning, demokrati och kultur under drygt hundra år. För att kunna göra utföra denna undersökning valdes fyra svenska konstmuseum som objekt för analysen: Göteborgs konstmuseum; Kalmar konstmuseum; Jönköpings läns museum samt Bildmuseet i Umeå. Med hjälp av analysen har jag kunnat identifiera fem tydliga diskurser rörande konstmuseiarkitektur i Sverige. En diskurs som varit rådande under hela seklet är den om modernitet som något positivt; att museet ska framstå som modernt, samtida eller nytt, rent arkitektoniskt sett. Bland de övriga diskurserna finns "stilbrott", där museibyggnadens arkitektoniska kontrast till sin omgivning uppfattas negativt om den är allt för stor, samt en diskurs där "transparens" - med ett fokus på luft, ljus och rymd - ses som en essentiell del av konstmuseiarkitekturen. Denna undersökning pekar att de flesta diskurserna kring arkitektur är allt annat än statiska utan förändras i takt med andra sociala förändringar som påverkar konstmuseets roll i stort. / The purpose of this bachelor thesis is to examine the discourse regarding art museum architecture in Swedish print media, with a focus on trade press magazines and daily newspapers, in order to identify the prevailing discourse(s) over the course of roughly a century. By using Norman Fairclough’s critical discourse analysis several articles in print media have been analysed, regarding the architecture of four museums built over a period of almost one hundred years: Gothenburg Museum of Art; Kalmar konstmuseum (Kalmar Art Museum); Jönköping County Museum and Bildmuseet in Umeå (Museum of Visual Arts). Five main discourses have been identified, with one predominantly present during the entire century: the importance of the museum architecture being ”modern”, ”new” or ”contemporary”. Other discourses include one that appeared after the emergence of modernism where parts of the general public associate obvious contrast between the building and its surroundings as a negative trait, and another one with an emphasis on transparency as a positive trait focusing on light and space. Overall, the discourses concerning domestic art museum architecture has been anything but static and has evolved in conjunction with changes in general architecture discourse, the symbolic value of the art museum, and social structures in the society as a whole.