Artikeln presenterar historien om en modern runsten i Haninge i Uppland. Stenen ristades av Kalle Runristare och restes till minne av bostadsrättsföreningen Runstenens första 40 år. Stenen avtäcktes år 2002 och är ett av många exempel på moderna runstenar som har rests i vår tid.

Ménards metod är en antologi om bebyggelsehistoriska studier och hantverkskunnande med fokus på begreppen rekonstruktion och inlevelse. Den aktuella texten utgör antologins efterord och är en reflektion över de ingående texternas bidrag till en helhetssyn på rekonstruktion och inlevelse utifrån författarens egna erfarenheter inom fältet.

I artikeln beskrivs nätverket Experimentellt kulturarvs första större projekt på Öland inom vilket arkeologer, konstnärer och kulturarbetare samverkade för genoförandet av konstnärliga gestaltningar av kulturarvsplatser i det öländska landskapet. Projektet började förberedas 2014 och genomfördes under 2016–18 tack vare finansiering från Familjen Kamprads Stiftelse, som möjliggjorde de konstnärliga gestaltningarna och det fördjupade samarbetet mellan arkeologer, konstnärer och kulturarbetare. Åtta kulturarvsplatser gestaltades för allmänheten. Resultatet av samarbetet visar hur kullturarvet ständigt tolkas och omtolkas och därmed utgör en värdefull förnyelsebar resurs i samhället.

The article presents the network Experimental Heritage and its first major project on Öland, in which archaeologists, artists and cultural workers worked together to carry out artistic interpretations of cultural heritage sites in the Öland landscape. The project was prepared from 2014 onwards and was carried out in 2016–18 thanks to funding from the Kamprad Family Foundation, which enabled the artistic interpretations and the deepened collaboration between archaeologists, artists and cultural workers. Eight cultural heritage sites were interpreted and presented to the general public. The result of the collaboration shows how cultural heritage is constantly interpreted and reinterpreted and thus constitutes a valuable renewable resource in society.

Time, Archaeology and Art – the Pillar of Culture in Lund. The article is an investigation into how archaeologists and artists may relate to time departing from the so-called “Pillar of Culture” at The Cultural Museum in Lund. The pillar is a six m high stratigraphical section from an excavation in Lund 1913. It was exhibited in 1932 in a context of artifacts from the actual excavation. The pillar was relocated to the Medieval Hall in 1959, where the section was supplemented with a series of pottery and a wooden sculpture by the artist Torsten Treutiger. The pillar was moved again later in time and became a part of the Metropolis exhibition that opened in 1999. 

Stratigraphic thinking and methodological practice are followed from the 17th century to the present. An excavated section of a “kitchen midden” exhibited at the National Museum of Copenhagen is identified as a possible model. The pillar is analyzed as a visualization of the history of Lund based on different types of sources, which are combined – soil, artifacts, written documents and monuments. From the beginning the pillar was supposed to represent 10.000 years, later a period of only 658 years, the “long Danish Middle Ages”.

There was this massacre in a beautiful landscape. Children’s bones haunt the archaeologists at Sandby borg, on the Swedish island called Öland. A world’s media arrived at the fortress swiftly after the discovery. The hidden treasure, some in bags stashed around the site, now adorn the museum on the mainland. Tales of superstition circulate like wildfire. In this chapter, we will briefly present our Experimental Heritage project which is all about sound (subsuming music), place and heritage. It is about a mound from sound built with help from different community groups in relation to this Iron Age site, its violent history and current world crises.

This report is from an international seminar in Kivik, Skåne the 17 of September 2019, as part of a full week of activities relating to the project Experimental Heritage Explorations. The texts in this report are from the presentations performed by the participants: artists, archaeologists, historians and heritage workers from Sweden, ireland and the Netherlands.

This text presents the emerging transdisciplinary practice of Experimental Heritage as performed within an ongoing Irish-Swedish research project involving artists and archaeologists. The project is situated simultaneously in western Ireland and south-eastern Sweden. It explores the chosen Irish and Swedish landscapes of Clare and Öland, their similarities and differences, with the aid of combined and integrated artistic and archaeological practices. The starting points for common explorations are: stone and water, movement and time/the multitemporal, and the tangible and intangible aspects of landscape experience. In a transdisciplinary process we explore new ways of combining art, archaeology and heritage within and between these landscapes.

One path towards fulfilling the strivings is to explore art, archaeology and heritage through the senses. A phenomenological landscape perspective and an eco-cultural approach is combined with Performance Studies and movement-based practice. These perspectives and methodologies are paired with artistic and archaeological approaches to research such as those conducted through poetry, music, performance, visual arts, physical surveys, mapping and excavations.

Methods of working have developed from walking in the landscape to sketching, through visuals, sound and movement, group dialogue, team building and exploring the materiality of making. Group movement-based workshops are used to support receptivity and inner listening for decision making through somatic principles and the senses. The project encourages transdisciplinary as well as translocal practice to arrive at new approaches and perspectives on how the past matters to us in the present and how it might have an impact on the future.

To achieve true both transdisciplinary and translocal ways of working through art and archaeology/heritage, we need to expand beyond conventional art and archaeology/heritage research, communication and presentation within the well-known framework of universities, cultural history museums and art institutions. The constraints of these conventions are substituted by alternative settings in the landscape. This landscape-based practice includes method development across disciplines, times and geographic distances. It also includes collaborations with people from local communities that can contribute to the explorations with their perspectives, experiences and stories.

The advantage of Experimental Heritage as practice in the landscape is its ability to challenge our current worldview to better understand other times and cultures as well as our own. This in turn provides us with new tools to create alternative futures resting on care and respect for the need for diversity and breaking with boundaries set up between nature and culture as well as hierarchies of central and peripheral. We intend to find out more about the multitemporal layers in the landscapes surrounding us and how they relate to our inner landscapes of multitemporal perception. The combination and equal roles of artists and archaeologists as well as the contributions of researchers, and members of the local communities in this work is crucial. Equality and diversity encourage transdisciplinary knowledge development.