Enter your mobile number or email address below and we'll send you a link to download the free Kindle App. Then you can start reading Kindle books on your smartphone, tablet, or computer - no Kindle device required. To get the free app, enter your mobile phone number. UNIQUE is never seen before ,- the guys pose nude in all seasons, such as winter,- fully naked in snow and ice. The Men of Scandinavia calendar was shot at locations in Scandinavia and features Nordic models. Photographer Franz Fleissner. Would you like to tell us about a lower price? If you are a seller for this product, would you like to suggest updates through seller support? Read more Read less.
As a teenager, I pictured Scandinavia as a mythical land of beautiful, blonde volleyball players, who like to take off their clothes and prance around in saunas. Hollywood created this dream and the little I heard about the Nordic region seemed to confirm it. Scandinavian countries were model societies, the good guys of Europe. Instead of developing nuclear weapons, they developed digital networks. Alas, like my beliefs in eventual world peace and the All Blacks winning the Rugby World Cup again, this utopian dream faded as I grew older. By the time I moved to Finland I realised that although Nordic countries are in many respects model societies, they do have casualties, crime and clothes. I still expected a liberated approach to issues like nudity, however. The drive home from the airport seemed to confirm my suspicions, but not as I had hoped. Dotted around Helsinki were statues of naked men.
Helsinki: Streets paved with style
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National media reported on these initiatives, the audience came in large numbers, the press reported on their success, and it seemed like queer perspectives made a successful entrance into the Stockholm museum world. Gender studies scholar Vanja Hermele pointed out that through temporary exhibitions and collaborations with feminist and queer artists and curators, Swedish art institutions tend to see themselves as much more radical than they actually are. Subsequently, these issues were taken seriously by state institutions, and the National Exhibition Agency published two reports—one on museums and diversity , one on museums and LGBTQ issues It seemed a consensus was being established around the importance of including these perspectives, but this was not actually the case. In the fall , writers in the culture pages debated Swedish museum priorities—is there too much ideology, what should actually be communicated, and how should collections be shown? Are museums favoring diversity and identity politics over conservation and traditional knowledge about objects? On one hand, the situation can certainly be interpreted as a backlash against progressive trends in the institutions, but on the other, it can also be seen as a resistance against state agencies setting agendas for cultural life. In my opinion, the intersection of these trajectories is where truly creative museum work occurs, when we can move beyond the seeming opposition between objects and stories, aesthetics and context, historical artifacts and contemporary perspectives. Against this statement of creed, I will focus on an exhibition that I curated in the summer of , exploring the queer potential of a specific artwork at the art museum Thielska Galleriet in Stockholm, Sweden. The theme was men by water, and the rooms were filled with male nudity.