Between 1977 and 2011 the Swedish organization Samdok presented a nation-wide programme for contemporary museum collecting, including an increasinglyflexible intellectual and methodological framework. This article considers Samdok,its evolving programmes and self-presentations. It suggests that Samdok's self-image was one of inclusive progressiveness, social engagement and equality.It also suggests that they display four major rhetorical shifts: from an economicrationale to a social and cultural approach; from studies of a welfare state basedon industrial production to fieldwork concerning the adaptation to a post-industrial economy; from modern to post-modern epistemologies; and finallyfrom engineering collecting to networking collecting, connecting contemporarycollecting in Sweden to a transnational professional community. It is suggestedthat the case of Samdok casts light on the ways in which museums negotiatemanagerial issues, professional values and needs for inspiration and friendship
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