Space for creative initiatives
Not everything in the Dome of Visions is planned in detail. There is also room here for spontaneity and a degree of unpredictability. Some things are simply best in the moment – especially artistic experiences, which also have an important role to play.
We asked the curator of the Dome of Visions about the role played by art in the project.
Why does the Dome of Visions need a curator?
The title “curator” is taken from the Anglo-Saxon world, though earlier titles in Sweden for a similar role have included Commissioner. It is the person responsible for the museum’s collection and produced exhibitions. The earlier titles are from the police service, which feels a little strict when the exhibitions are more and more about opening up to the public and being service minded, rather than ensuring that the institution’s treasures are protected from the public. If you look at the underlying meaning of “curator”, then the word is from the Latin “curare” which means to treat or look after. Previously, the role focused on taking care of objects, but in the modern role, a curator uses a collection of exhibition objects to create meaning and context. This is also the role at the Dome of Visions. To create a context and a meaning. To use the content to create meaning. This is a highly complex task, as it is a place for science, community-building, innovation, culture, sustainability and it targets both a general and professional audience.
You have worked as a curator and exhibition producer for more than two decades, what do you bring with you from your experience to the Dome of Visions?
The Dome of Visions is a meeting place for many different activities, which is exciting. I have extensive experience of artistic projects that have included advanced technology, research and business liaison, which is good experience in work at the Dome of Visions. For me, it is very much about respect for different skills, for all types of culture and people and that we are all essentially working for a better future, albeit in more or less concrete terms. My role has much to do with this, creating trust and building bridges. I also want art to have a clearly defined place in the Dome of Visions and will invite artists that I have worked with before and artists that I have been interested in working with for some time.
In what ways do you believe collaborations between art, science and business can enrich each other?
I believe everybody feels an enormous sense of satisfaction when they create something. The lust for innovation and creativity is a strong incentive and for me it is the same incentive that drives researchers and artists in their work. Culture is also a form of research, in my view. All forms of art have an ability to communicate things that are difficult to explain with words, irrespective of whether it is in images, music, dance, theatre or literature. Nor should we forget aesthetics. Beautiful design and engineering have always been interconnected. Art creates inspiration and creativity. All of these aspects are important when you build a society and it is important in a sustainable society that the business community understands and supports culture. There are far too many examples of the opposite, and we can see that this does not work in the long term.
Can you reveal anything about what we will see and experience at the Dome of Visions during the year?
I hope the program will provide a few surprises, so I do not want to give away too many details. But the meeting between culture, research and the business sector plays a key role. In more tangible terms, I am creating a program with clear links between art, research and the society of the future. On several occasions, researchers, musicians and artists will use the actual Dome of Visions building for various experiments, visual and sound-based. This is something else I am really looking forward to.