Extract
Charlotte Ashby has written an inspiring text on Modernism in the Nordic countries, a region, according to the book cover, ‘associated with modernity: modern design, modern living and a modern welfare state’. The author highlights the borderlessness of ideas and the mobility of people, challenging established histories of modern art, architecture, and design that focus on the nation and on the idea of a natural, innate Nordic genius. Ashby provides solid background information about the region’s political history, showing similarities but also differences between the five Nordic countries—Sweden, Finland, Denmark, Norway, and Iceland.
A critical stance and an inquiring attitude towards ‘Modernisms’ is the norm today and applies also to accounts of Scandinavian design.1 During the last decades, research has painted a more pluralistic picture of the subject and revealed histories beyond the polished marketing imagery of perfect objects and hero designers.2 The task of the design historian today is to critically observe the past and look for alternative histories, including those of this region.3 In the book, Ashby quite rightly discusses architecture, art, and design together—fields often discussed separately—and highlights their inter-relatedness. As the author points out, the Nordic art system is based on discrete areas administered by specialized professionals within supporting institutions. Ashby successfully reveals and highlights connections and networks that question this traditional bunkered view.
