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Review of Owe Ronström, “Kulturarvspolitik. Visby från sliten småstad till medeltidsikon” (Stockholm 2008).

Med Orson Welles F for Fake undersøger vi, hvordan æstetisk kvalitet vil kunne indløses som kunstnerisk værdi. Hvis spørgsmålet er Elmyr de Hory, er svaret, at det koster intention og identitet. Orson Welles’ last film, F for Fake from 1973, not only doubles several figures from Clifford Irving’s biography of the forger Elmyr de Hory, the character ‘Orson Welles’ doubles the character ‘Elmyr de Hory’ as well in their common denominator as charlatans> Orson as a non-filming movie-maker, Elmyr as a non-artist painter and draughtsman. Whereas this for Orson was an intentional ambition in his film-making, it seems for Elmyr to have been an unintentional involutarism. As most artists, Elmyr strived for recognition of his own works under his own name. The problem was, however, that he did not have any real identity. With regard to quality, Hory could not really see the difference between a Modigliani portrait painted by Modigliani in 1910’s and another Modigliani portrait by Elmyr. This indifference towards the logic of artistic fame, established by different avantgardes, Hory probably had in common with all our lesser known artists, who thought that aesthetical qualities could be exchanged to artistic value. Elmyr’s paradoxical success – starting with Clifford Irving’s biography and Orson Welles’ film – illuminates a strategy for traditional or mediocre artists, to test artistic value, with a type of retrogardian chock-effect: reciprocal plagiarism.

Titele in WoS: The metropolises of the Middle East

A very critical review of Henrik Jacobsens dissertation in medieval archaeology, "Romanske vesttårne, deres indretning og funktion. Vesttårne før 1300 i det middelalderlige Danmark øst for Storebælt" (Stockholm 1993). Alternative explanations are proposed.

Romanesque round church towers - a Skandinavian perspective: The aim of the article is to discuss the interpretation of the Romanesque round church towers seen from a Scandinavian perspective. After a research history and a geographical outlook, which passes Ireland, England and Holstein, the article focusses on the 15-19 churches with round towers in medieaval Denmark, Sweden and Norway, with the main part in Southern Schleswig and Scania; none are known from Finland. The chronology and social context, function and meaning of the church towers are discussed. The Romanesque round church towers are also discussed in relation to the 33 known Romanesque round churches in the same area. Finally a catalogue of the round church towers in Scandinavia is presented. The theses of the article is, that the building material was not decisive for the choice of the round architecture, at least not in Scandinavia. The round church towers were unfortified burial memorials and bell towers, where the architecture, as was the case for the round churches, copied central church buildings in the West. In a period, where most churches were without a tower or had square towers, the round church towers were examples of a “conspicuous symbolism”. The initiative to build the round church towers must have been taken by an aristocracy, who participated or were inspired by the contemporary crusades at the Baltic Sea, and who used the towers in their mutual competition on status.Corrections in the pdf 2015.