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Magasin III Museum for Contemporary Art
Photo by Simon Bajada
How did your experiences as a private collector influence the founding of Magasin III?
When Magasin III Museum for Contemporary Art was founded in 1987, by the philanthropist Robert Weil and Emeritus director David Neuman, there was no collection. There wasn’t a hidden agenda to expose and exhibit a secret collection of contemporary art.
The institution started with a clean slate and invited artist friends to come to Stockholm and exhibit their innovative and experimental creative output. It was both utterly naïve and fantastically refreshing.
![](https://optimise2.assets-servd.host/fluffy-tenrec/production/Pipilotti-Rist_Installation-view_Gravity-be-my-friend_Photo-Johan-Warden_higher-res.jpg?w=2048&h=1656&q=82&fm=jpg&fit=crop&dm=1700485539&s=b69a3c44c0f58e3f490de8d9307f41c1 2048w, https://optimise2.assets-servd.host/fluffy-tenrec/production/Pipilotti-Rist_Installation-view_Gravity-be-my-friend_Photo-Johan-Warden_higher-res.jpg?w=1920&h=1552&q=82&fm=jpg&fit=crop&dm=1700485539&s=414a4da8e3e35fa2cd5958193d298829 1920w, https://optimise2.assets-servd.host/fluffy-tenrec/production/Pipilotti-Rist_Installation-view_Gravity-be-my-friend_Photo-Johan-Warden_higher-res.jpg?w=1536&h=1242&q=82&fm=jpg&fit=crop&dm=1700485539&s=02107bbbea2c1c1879c92dcb22b4ce84 1536w, https://optimise2.assets-servd.host/fluffy-tenrec/production/Pipilotti-Rist_Installation-view_Gravity-be-my-friend_Photo-Johan-Warden_higher-res.jpg?w=1280&h=1035&q=82&fm=jpg&fit=crop&dm=1700485539&s=fcbc6e72af4f9626081b2b9fb89b0730 1280w, https://optimise2.assets-servd.host/fluffy-tenrec/production/Pipilotti-Rist_Installation-view_Gravity-be-my-friend_Photo-Johan-Warden_higher-res.jpg?w=1024&h=828&q=82&fm=jpg&fit=crop&dm=1700485539&s=282ca02eb44041371c9e0222fc77f8ac 1024w, https://optimise2.assets-servd.host/fluffy-tenrec/production/Pipilotti-Rist_Installation-view_Gravity-be-my-friend_Photo-Johan-Warden_higher-res.jpg?w=768&h=621&q=60&fm=jpg&fit=crop&dm=1700485539&s=b703be85f8c525fdb48873aaa0ab7783 768w, https://optimise2.assets-servd.host/fluffy-tenrec/production/Pipilotti-Rist_Installation-view_Gravity-be-my-friend_Photo-Johan-Warden_higher-res.jpg?w=512&h=414&q=60&fm=jpg&fit=crop&dm=1700485539&s=6ef1152966d3afeb28579722202207d4 512w, https://optimise2.assets-servd.host/fluffy-tenrec/production/Pipilotti-Rist_Installation-view_Gravity-be-my-friend_Photo-Johan-Warden_higher-res.jpg?w=256&h=207&q=60&fm=jpg&fit=crop&dm=1700485539&s=893f1b66e45a534499c8a0e720a62015 256w, https://optimise2.assets-servd.host/fluffy-tenrec/production/Pipilotti-Rist_Installation-view_Gravity-be-my-friend_Photo-Johan-Warden_higher-res.jpg?w=128&h=103&q=60&fm=jpg&fit=crop&dm=1700485539&s=63e46b8b7921c0478e5b44ab3173197c 128w)
Installation view: Pipilotti Rist – Gravity, Be My Friend, 2007, Magasin 3 Stockholm Konsthall (Now Magasin III Museum for Contemporary Art)
Photo by Johan Warden
How does the exhibition programme and the museum collection at Magasin III interact? Does the museum primarily collect works that have been exhibited there, or is there a degree of separation?
We have a key part of our collection which we call 'Magasin III Productions.' Those works have exclusively been made in Sweden by the artists.
Now, 40 years after its inception, there is a substantial group of both international and Scandinavian artists that have worked alongside excellent technicians and craftsman to produce extraordinary works. This is the heart of the collection.
We have also abided by a practice to collect and promote artists early in their careers, as well as collecting work based on both interest and unconditional encouragement.
Many times, we start with an interest (collecting) and then follow the artist with an idea towards an eventual exhibition at our museum.
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Installation view: Tal R – :Men Who Can’t Sit on Horses, 2019–2020, Magasin III Jaffa. Work in view: Tal R, Natten (The Night), 2019, Magasin III Productions, courtesy of the artist and Magasin III Museum for Contemporary Art
Photo by Noam Preisman
What sort of role does collecting play when it comes to building an alternative platform for contemporary art to the national museums?
We are totally privately funded, subsequently we don’t need to take into consideration a range of other parameters that the national museums do. We are of course affected by all positive changes within our societies.
With us, the dialogue might be slightly more connected to the artists, since we follow artists over extended periods of time and create sincere bonds between us.
![](https://optimise2.assets-servd.host/fluffy-tenrec/production/1988_WdM_01_Walter-De-Maria_Large-Rod-Series_Circle-Rectangle-13_photo-Lennart-Durehed.jpg?w=2048&h=1448&q=82&fm=jpg&fit=crop&dm=1700486395&s=d08d2de7be14c19c326fe52c8b69e190 2048w, https://optimise2.assets-servd.host/fluffy-tenrec/production/1988_WdM_01_Walter-De-Maria_Large-Rod-Series_Circle-Rectangle-13_photo-Lennart-Durehed.jpg?w=1920&h=1357&q=82&fm=jpg&fit=crop&dm=1700486395&s=02b26b8aa7690cabea815fee2703944a 1920w, https://optimise2.assets-servd.host/fluffy-tenrec/production/1988_WdM_01_Walter-De-Maria_Large-Rod-Series_Circle-Rectangle-13_photo-Lennart-Durehed.jpg?w=1536&h=1086&q=82&fm=jpg&fit=crop&dm=1700486395&s=5d5d3bb9c6ce0e75923160003ffa418c 1536w, https://optimise2.assets-servd.host/fluffy-tenrec/production/1988_WdM_01_Walter-De-Maria_Large-Rod-Series_Circle-Rectangle-13_photo-Lennart-Durehed.jpg?w=1280&h=905&q=82&fm=jpg&fit=crop&dm=1700486395&s=6d65928b2d1bfd44cfd7d26abbd7cc9d 1280w, https://optimise2.assets-servd.host/fluffy-tenrec/production/1988_WdM_01_Walter-De-Maria_Large-Rod-Series_Circle-Rectangle-13_photo-Lennart-Durehed.jpg?w=1024&h=724&q=82&fm=jpg&fit=crop&dm=1700486395&s=ea7641ff32e0dedb933da07ca3798c25 1024w, https://optimise2.assets-servd.host/fluffy-tenrec/production/1988_WdM_01_Walter-De-Maria_Large-Rod-Series_Circle-Rectangle-13_photo-Lennart-Durehed.jpg?w=768&h=543&q=60&fm=jpg&fit=crop&dm=1700486395&s=b85c21f8f400f584ca8fcf61592d72bb 768w, https://optimise2.assets-servd.host/fluffy-tenrec/production/1988_WdM_01_Walter-De-Maria_Large-Rod-Series_Circle-Rectangle-13_photo-Lennart-Durehed.jpg?w=512&h=362&q=60&fm=jpg&fit=crop&dm=1700486395&s=b3159ee7494e0831cf636a297aec1b7e 512w, https://optimise2.assets-servd.host/fluffy-tenrec/production/1988_WdM_01_Walter-De-Maria_Large-Rod-Series_Circle-Rectangle-13_photo-Lennart-Durehed.jpg?w=256&h=181&q=60&fm=jpg&fit=crop&dm=1700486395&s=aa17c7e77105c1951f460c7637d824b1 256w, https://optimise2.assets-servd.host/fluffy-tenrec/production/1988_WdM_01_Walter-De-Maria_Large-Rod-Series_Circle-Rectangle-13_photo-Lennart-Durehed.jpg?w=128&h=90&q=60&fm=jpg&fit=crop&dm=1700486395&s=9026cbc180e3aa16dbcbdff18026d70b 128w)
Installation view: Walter De Maria, 1988, Magasin 3 Stockholm Konsthall (Now Magasin III Museum for Contemporary Art), courtesy of the artist and Magasin III Museum for Contemporary Art.
Photo by Lennart Durehed
Does Magasin III have more flexibility than national museums, when it comes to managing its collection?
Yes. We also have by-laws which allow us to de-acquisition works, but only for very specific reasons. This has only happened once since we were founded in 1987 – and it had to do with our acquisition fund and co-founding a new institution, Accelerator, at Stockholm University (http://www.acceleratorsu.art).
![](https://optimise2.assets-servd.host/fluffy-tenrec/production/Sm_09_Works-from-the-Magasin-III-collection_Mamma-Andersson_Annika-Elisabeth-von-Hausswolff_photo-Patrik-Lindell.jpg?w=2048&h=1525&q=82&fm=jpg&fit=crop&dm=1700220363&s=f688d9fabcfb9eea228352017407bc36 2048w, https://optimise2.assets-servd.host/fluffy-tenrec/production/Sm_09_Works-from-the-Magasin-III-collection_Mamma-Andersson_Annika-Elisabeth-von-Hausswolff_photo-Patrik-Lindell.jpg?w=1920&h=1430&q=82&fm=jpg&fit=crop&dm=1700220363&s=87bcc1dad24e7f0b06fd5fe9250968b2 1920w, https://optimise2.assets-servd.host/fluffy-tenrec/production/Sm_09_Works-from-the-Magasin-III-collection_Mamma-Andersson_Annika-Elisabeth-von-Hausswolff_photo-Patrik-Lindell.jpg?w=1536&h=1144&q=82&fm=jpg&fit=crop&dm=1700220363&s=26bfaa3f4a5309737dd7f22dbd0c3867 1536w, https://optimise2.assets-servd.host/fluffy-tenrec/production/Sm_09_Works-from-the-Magasin-III-collection_Mamma-Andersson_Annika-Elisabeth-von-Hausswolff_photo-Patrik-Lindell.jpg?w=1280&h=953&q=82&fm=jpg&fit=crop&dm=1700220363&s=be7233841c5329f9dd9e8139e9a12ac3 1280w, https://optimise2.assets-servd.host/fluffy-tenrec/production/Sm_09_Works-from-the-Magasin-III-collection_Mamma-Andersson_Annika-Elisabeth-von-Hausswolff_photo-Patrik-Lindell.jpg?w=1024&h=762&q=82&fm=jpg&fit=crop&dm=1700220363&s=4b86a30905556b1f74176473da1ab8e4 1024w, https://optimise2.assets-servd.host/fluffy-tenrec/production/Sm_09_Works-from-the-Magasin-III-collection_Mamma-Andersson_Annika-Elisabeth-von-Hausswolff_photo-Patrik-Lindell.jpg?w=768&h=572&q=60&fm=jpg&fit=crop&dm=1700220363&s=9c9aa3f174e0ac639869d6e53f8f00ba 768w, https://optimise2.assets-servd.host/fluffy-tenrec/production/Sm_09_Works-from-the-Magasin-III-collection_Mamma-Andersson_Annika-Elisabeth-von-Hausswolff_photo-Patrik-Lindell.jpg?w=512&h=381&q=60&fm=jpg&fit=crop&dm=1700220363&s=750f51c150faf6705d72c9a735aea68a 512w, https://optimise2.assets-servd.host/fluffy-tenrec/production/Sm_09_Works-from-the-Magasin-III-collection_Mamma-Andersson_Annika-Elisabeth-von-Hausswolff_photo-Patrik-Lindell.jpg?w=256&h=190&q=60&fm=jpg&fit=crop&dm=1700220363&s=55cd9ac79971fb5a225863029dc8af8c 256w, https://optimise2.assets-servd.host/fluffy-tenrec/production/Sm_09_Works-from-the-Magasin-III-collection_Mamma-Andersson_Annika-Elisabeth-von-Hausswolff_photo-Patrik-Lindell.jpg?w=128&h=95&q=60&fm=jpg&fit=crop&dm=1700220363&s=389b78c4929f53864f64ec3a9c090fa4 128w)
Works by Mamma Andersson and Annika Elisabeth von Hausswolff in the workspace for the collection at Magasin III, courtesy of the artists and Magasin III Museum for Contemporary Art
Photo by Patrik Lindell
How did Magasin III’s work or focus change after the brief period of closure to the public from 2017 – 2020?
In the summer of 2017, we paused the public program, in order to rethink the institution for the future.
Magasin III had then existed for 30 years, having expanded from an exhibition space without a collection into a museum with an extensive and complex collection. In the process we found it important to go back and re-establish some of the initial core values and ideas that Magasin III was founded upon, such as being an alternative and a complement to other art institutions both locally and internationally.
In addition to exhibiting, producing, and collecting, what we have added since the reopening in the fall of 2020, is offering another kind of access to the institution. With a special focus on higher education programs within visual arts, art history, curating and other creative fields, we offer in-depth exploration and a hands-on understanding of what it means to curate, produce and collect.
With this model, we want to share the work that moves art from the mind of the artist into the world.
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Magasin III Jaffa, courtesy of Magasin III Museum for Contemporary Art
Photo by Noam Preisman
Could I ask you to talk a little bit about the opening of Magasin III’s 2nd space in Jaffa. Has that changed the way the museum approaches its collection, or its role in promoting international contemporary art in a specifically Swedish context?
The idea was to be able to expose and exhibit works from both our collection and specifically new installations from artists we are interested in and have supported for many years.
The satellite space opened in 2018 and is located in Jaffa, greater Tel Aviv, in a residential neighborhood which is predominately Arabic. It has been hugely successful in introducing contemporary art to the local community. We also have a bookstore with hundreds of artist books, which have been given to us on commission. The books are sold as a non-profit endeavour.
Lastly, we follow a practice from Stockholm; commissioning new works which specifically relate to the physical space – up to this point in time, participating artists have included: Polly Apfelbaum, Tal R, and Haim Steinbach, amongst others.
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Installation view: Haim Steinbach – zerubbabel, 2018, Magasin III Jaffa, courtesy of the artist and Magasin III Museum for Contemporary Art
Photo by Noam Preisman
"We have abided by a practice to collect and promote artists early in their careers, as well as collecting works based on both interest and unconditional encouragement."
Co-Founder & Emeritus Director of Magasin III Museum for Contemporary Art
![](https://optimise2.assets-servd.host/fluffy-tenrec/production/Sm12_David-Neuman_photo-Mathias-Johansson.jpg?w=1280&h=1920&q=82&fm=jpg&fit=crop&dm=1700212473&s=dfdc0ac0546dd74f52e56ae92ca119d9 1280w, https://optimise2.assets-servd.host/fluffy-tenrec/production/Sm12_David-Neuman_photo-Mathias-Johansson.jpg?w=1024&h=1536&q=82&fm=jpg&fit=crop&dm=1700212473&s=2b464699b30519d08b61ccca8ffe0d9a 1024w, https://optimise2.assets-servd.host/fluffy-tenrec/production/Sm12_David-Neuman_photo-Mathias-Johansson.jpg?w=768&h=1152&q=60&fm=jpg&fit=crop&dm=1700212473&s=4f1c79daa98d28060da237d93aaba648 768w, https://optimise2.assets-servd.host/fluffy-tenrec/production/Sm12_David-Neuman_photo-Mathias-Johansson.jpg?w=512&h=768&q=60&fm=jpg&fit=crop&dm=1700212473&s=ca2ddd8c24a196403db476e9fb1283e6 512w, https://optimise2.assets-servd.host/fluffy-tenrec/production/Sm12_David-Neuman_photo-Mathias-Johansson.jpg?w=256&h=384&q=60&fm=jpg&fit=crop&dm=1700212473&s=18e334977e0dac81b207c94f1d703873 256w, https://optimise2.assets-servd.host/fluffy-tenrec/production/Sm12_David-Neuman_photo-Mathias-Johansson.jpg?w=128&h=192&q=60&fm=jpg&fit=crop&dm=1700212473&s=985e278d500772dfce38d086bfa6b270 128w)
David Neuman is Co-Founder & Emeritus Director of Magasin III Museum for Contemporary Art, an independent cultural institution under the auspices of the privately owned Proventus AB and the Robert Weil Family Foundation. The foundation is dedicated to the advancement of visual arts, performative disciplines, film, as well as concerns in relation to education, sustainability, democracy, and bridging political divides. David Neuman is also Co-Founder of Accelerator, an exhibition space at Stockholm University.
Photo by Mathias Johansson
![](https://optimise2.assets-servd.host/fluffy-tenrec/production/Sm13_Tessa-Praun_photo-Pierre-Bjork.jpg?w=1280&h=1920&q=82&fm=jpg&fit=crop&dm=1700212494&s=0cb5c6646a76803426ced6f1c7c07447 1280w, https://optimise2.assets-servd.host/fluffy-tenrec/production/Sm13_Tessa-Praun_photo-Pierre-Bjork.jpg?w=1024&h=1536&q=82&fm=jpg&fit=crop&dm=1700212494&s=ad27df69b02f41e20f6782d726d893c8 1024w, https://optimise2.assets-servd.host/fluffy-tenrec/production/Sm13_Tessa-Praun_photo-Pierre-Bjork.jpg?w=768&h=1152&q=60&fm=jpg&fit=crop&dm=1700212494&s=5b479b92b609d9edb44f0327bf3adf1c 768w, https://optimise2.assets-servd.host/fluffy-tenrec/production/Sm13_Tessa-Praun_photo-Pierre-Bjork.jpg?w=512&h=768&q=60&fm=jpg&fit=crop&dm=1700212494&s=6de4f94e82cf8b41f9f95be278db257f 512w, https://optimise2.assets-servd.host/fluffy-tenrec/production/Sm13_Tessa-Praun_photo-Pierre-Bjork.jpg?w=256&h=384&q=60&fm=jpg&fit=crop&dm=1700212494&s=7763c1eb233901304fdcbdc8d02261b2 256w, https://optimise2.assets-servd.host/fluffy-tenrec/production/Sm13_Tessa-Praun_photo-Pierre-Bjork.jpg?w=128&h=192&q=60&fm=jpg&fit=crop&dm=1700212494&s=c28a439db998cbc91363f04e4ced0459 128w)
Tessa Praun is director and chief curator of Magasin III Museum of Contemporary Art in Stockholm, Sweden. She took on this role in 2017, after having been part of the institution’s curatorial team since 2004. Praun has curated numerous solo- and group exhibitions with artists such as Christian Boltanski, Miroslav Tichý, Ai Weiwei, Chris Burden, Marjke van Warmerdam, Mika Rottenberg, Markus Schinwald, and Sirous Namazi, to name a few.
Photo by Pierre Björk