The Edstrand Foundation of the '90s is probably far removed from what the founders had in mind when they put together their tribute to three siblings whose active and generous interest in art had secured for them a position as key figures in Scanian art since the 1910's. At that time, there were few who doubted that the extensive Ekstrand collection would be secure for the reminder of the century, and that the young artists of the province would continue to bask in Thekla Edstrand's munificence.

This proved not to be so, at least not in the long run. As may be seen from the short historical overview presented elsewhere in this catalogue, the foundation's ambition to combine museum activity and an artists' grant program while expanding the collection proved untenable, both practically and financially. A crisis in the '70s forced the foundation to sell off most of its collection, including works by Ferdinand Léger and Karl Isakson. This enabled the grants program to continue on a somewhat more generous scale than before, but at the price of a weakened cultural profile. Ten years later the picture had changed once more. The annual income of the foundation grew into the millions through the sale of bank-related stock which had previously been tied up - thereby ushering in a third phase in its history.

With the foundation now established as the largest artists' fund in Sweden, the Edstrand Grant attracted nation-wide attention. The situation was now totally different. In its early years, grant recipients primarily basked in the glory of being singled out for recognition by a respected institution (such was at least the case when I received a grant of 3,000 crowns in 1967). Now money rained down on the country - large sums of money. But where did it come from? A complete reverse, in other words: the grant was now quite sizable, but the donor indistinct.

A few years ago, I was asked by artist John Wipp to take his place as chairman of the foundation's advisory board which included artist Staffan Nihlén as well as Sune Nordgren, at the time head of Malmö Konsthall. At our introductory meeting we agreed that time had surely come for the foundation to play a larger role within the realm of cultural policy. We suggested to the board that the program be expanded to include artists from other Scandinavian countries. This would further cultural exchange with Scandinavia, consistent with Malmö's newly-acquired reputation as a Scandinavian art metropolis. Out of this proposal grew the foundation's present operating model, according to which a major grant is awarded to a representative from each of the five Scandinavian countries each year, and a number of young artists working in Sweden receive a somewhat smaller amount.

The change from the '50s is thus dramatic. The times - and Lady Luck - have put a new face on the Edstrand Foundation, in line with the international "postmodern" art scene. Nevertheless, a vital aspect af the original spirit still remains. The directors of the foundation have shown commendable flexibility on matters of policy in recent years and have taken their decision-making responsibility very seriously. The discussions concerning applicants and selection criteria have been lively, mindful of the responsibility inherent in the foundation's financial potential. A fundamental rule, however, is to further the cause of the artists in accordance with the foundation's original role of benefactor and liason. The artists recognized by the Edstrand foundation through grants and commendations must feel that they have wholehearted support in their continued creative work. It is in this idealistic spirit that the present exhibition at the Rooseum has been organized - although obviously also for the benefit of the public. Could it be that the Edstrand collection, now dispersed, has again been resurrected in the guise of an exhibition of equal scope more in line with our own time?

The Edstrand Foundation would like to thank Bo Nilsson, Director of the Rooseum, Magnus Jensner, curator of the exhibition, and the Rooseum staff for their help in this presentation of the 1998 Grantees.

Ola Billgren