The ongoing disputes surrounding the legacy of Hilma af Klint, the renowned Swedish artist, have reached a point of considerable dysfunction, hindering the realization of a dedicated museum for her work. Birgitta Rubin’s article addressing these issues was met with a response from Erik af Klint that, rather than engaging in constructive dialogue, exemplifies the very problem she highlighted: a lack of balanced discussion and a prevalence of mischaracterizations and inaccuracies. Rubin’s intent was to offer a measured overview of the conflicts and emphasize their detrimental impact on the pursuit of a museum. Her analysis resonated with numerous art experts who welcomed the attention brought to this destructive dynamic.
Erik af Klint’s reaction, however, consisted of a series of accusations riddled with conflations, unsubstantiated claims, and demonstrably false information. He accused Rubin of being a ”megaphone” for the Axel Johnson Group, implying a biased perspective, and of lacking understanding of the Hilma af Klint Foundation’s statutes. Contrary to this assertion, Rubin directly quoted the statutes regarding the sale of individual artworks, information readily available on the foundation’s website. Furthermore, the entity Rubin mentioned is the Axel and Margaret Ax:son Johnson Foundation for Public Benefit, a philanthropic organization distinct from any profit-driven enterprise. These misrepresentations serve to obfuscate the core issues and impede productive conversation.
The financial aspects of the Hilma af Klint Foundation’s activities are another point of contention where Erik af Klint’s claims diverge from documented reality. Publicly available records demonstrate that the foundation has invested 62 million kronor in supporting research and other knowledge production related to Hilma af Klint. Meanwhile, the associated publishing house, Bokförlaget Stolpe, has incurred a loss of 27 million kronor on the publication of the ”Catalogue Raisonné,” a comprehensive seven-volume catalog of af Klint’s approximately 1,600 works, now accessible to art enthusiasts worldwide. This substantial investment in scholarship and accessibility contradicts the narrative presented by Erik af Klint.
Furthermore, Erik af Klint’s assertion that the foundation received no compensation for the digital NFTs of the ”Temple Series” is demonstrably false. Gross proceeds of 1.2 million kronor were disbursed to the foundation in June 2023. This discrepancy further underscores the disconnect between the claims being made and the verifiable financial records. The narrative of a problematic ”cash flow,” as portrayed by Erik af Klint, is therefore directly contradicted by the available evidence. These inaccuracies not only derail productive discussion but also potentially mislead the public about the foundation’s financial activities.
Despite these ongoing conflicts, a positive step has been taken towards resolving the impasse and realizing the dream of a dedicated art space for Hilma af Klint’s work. The foundation’s board has approved an independent investigation into the feasibility of establishing a konsthall (art hall) in Ytterjärna. This investigation will explore alternative locations, assess the project’s scope and direction, and evaluate the economic viability of the undertaking. A steering group comprising experts in art, law, and finance will oversee this process. This decision represents a tangible move towards fulfilling the long-held aspiration of creating a dedicated space to showcase af Klint’s remarkable artistic legacy.
The independent investigation offers a crucial opportunity to move beyond the current acrimony and focus on the shared goal of honoring Hilma af Klint’s artistic contribution. By bringing in external expertise and considering various options, the investigation can provide a neutral and informed assessment of the best path forward. This process should not only address the practical considerations of location, design, and funding but also aim to establish a framework for future governance that ensures the long-term preservation and accessibility of af Klint’s oeuvre. The hope is that this objective evaluation will pave the way for a collaborative effort that benefits both the af Klint family and the wider art world.
