The Hilma af Klint Foundation, responsible for the legacy of the renowned Swedish abstract artist, is once again embroiled in controversy. Erik af Klint, the foundation’s chairman and a family member of the artist, has publicly voiced concerns about alleged breaches of the foundation’s statutes, including inappropriate sales of digitized art and potential plans to sell original works. These accusations, coupled with longstanding disputes within the foundation, raise questions about the future of Hilma af Klint’s artistic legacy, particularly the dream of a dedicated museum.
At the heart of the conflict lies a complex dynamic between the af Klint family and the Anthroposophists, a spiritual group associated with Rudolf Steiner. The foundation’s statutes stipulate that the Anthroposophists should dominate the board and manage af Klint’s artistic estate, due to the artist’s deep involvement with the movement. However, this arrangement has fueled ongoing tensions and accusations of mismanagement. The disputes are multi-layered, involving internal family disagreements, accusations of slander, and conflicting interpretations of the artist’s wishes regarding her work. These internal battles have created a challenging environment for external stakeholders attempting to understand the complexities of the situation and contribute to preserving af Klint’s legacy.
The current controversy centers around negotiations between the foundation and the prominent New York art dealer David Zwirner. Zwirner has previously sold a copy of af Klint’s ”Tree of Knowledge” series for a substantial sum, raising concerns about the potential commodification of her work. While the foundation claims these negotiations aim to secure its financial future and ensure proper care for the artworks, Erik af Klint contends he has been excluded from these discussions and disputes the claimed need for extensive restoration work, a point emphasized by the Anthroposophists on the board. This lack of transparency further complicates the situation and fuels mistrust between the involved parties.
The foundation’s handling of af Klint’s artistic legacy has been under scrutiny for decades, with conflicting information circulating about her will and the foundation’s statutes. Hilma af Klint’s primary concern was preserving her magnum opus, ”The Paintings for the Temple,” created between 1906 and 1915. This series of 193 groundbreaking paintings established her reputation as a pioneer of abstract art, further solidified by a successful exhibition at Moderna Museet in Stockholm in 2013. The foundation’s statutes prohibit the sale of any works from this series, but permit the sale of later works created between 1916 and her death in 1944, specifically to fund the preservation of the ”Temple” series.
While the sale of individual later works might be justifiable for preservation purposes, concerns arise about the selection process and the long-term implications for the collection’s integrity. A comprehensive catalogue raisonné, published recently, documents af Klint’s oeuvre of nearly 1,600 paintings and drawings. This scholarly resource, along with expert evaluation, should guide any decisions regarding the sale of works, prioritizing placement in reputable institutions and ensuring alignment with market values and legal regulations. However, the current environment of mistrust and internal conflict raises concerns about whether the foundation possesses the necessary expertise to make these crucial decisions. The lack of qualified art experts within both the family and the Anthroposophist-dominated board is particularly alarming, given the significance of the collection.
The foundation has previously benefited from the involvement of professionals associated with the Axel and Margaret Ax:son Johnson Foundation, which has invested heavily in international research on af Klint and the publication of the catalogue raisonné. Unfortunately, these individuals have since resigned due to disputes within the foundation and with the family. This pattern of conflict has deterred other qualified individuals from contributing their expertise, further hindering the realization of a dedicated Hilma af Klint museum. While the Anthroposophical Society in Järna has architectural plans for a museum, doubts remain about their ability to secure the necessary funding and manage such a significant institution effectively. State support seems crucial for this project, considering the immense cultural significance of af Klint’s work.
Hilma af Klint’s artistic legacy has become a matter of international importance, with her art currently exhibited in major museums worldwide and growing global interest in her unique and enigmatic visual universe. The ongoing internal conflicts within the foundation threaten to overshadow this remarkable artistic heritage. It is imperative that all stakeholders prioritize the preservation and accessibility of af Klint’s work for a global audience, moving beyond internal disputes to ensure the future of this invaluable artistic treasure. Only through collaborative efforts and a focus on professional management can the full potential of Hilma af Klint’s legacy be realized, culminating in the creation of a museum worthy of her groundbreaking contributions to art history.
