The racist structures within the contemporary art world in Sweden. Is representation within the Swedish art scene representative of the population in Sweden?
In 2018, when I created my concept ‘3.5%’, (which is a counter-reaction to the white norm that prevails in contemporary art; by highlighting a different perspective, the concept challenges the homogeneous view that still governs the art scene today, within 3,5% we work exclusively with BIPOC artists, curators and art historians), it was clear that representation in the contemporary art was not depicting the demographic trends in Sweden.
Ashik Zaman carried out a survey which was published in the magazine ‘Konstnären’, in 2018. It revealed that the most established art galleries in Stockholm represent 450 artists, of whom only 16* – 3.5 % – are non-white. The study demonstrated, in concrete figures, just how extremely poor the representation of Swedish BIPOC artists was; hence, I chose to name for my concept ‘3.5%’. Therefore I wanted to research the actual numbers of how many Swedish BIPOC artist that were exhibited in 2018 and 2025 in our tax funded platforms.
At the platforms and exhibitions that I have researched, it was in 2018, a total 501 artist, of whom 486 are included in this research, of which 25 was Swedish BIPOC artists, the Swedish BIPOC artists accounted for just 5,1%. In 2025 it was in total 1087 artist, of whom 983 are included in this research, of which 56 was Swedish BIPOC artists, the Swedish BIPOC artists accounted for just 5,7%. This represents an increase of 0.6% over seven years. Given this, institutions and platforms within the contemporary art world in Sweden cannot possibly claim that they are working towards inclusion, diversity and representation.
My research is based on statistics I have compiled by examining all the exhibitions at 13 different contemporary art platforms in Sweden. I wanted to examine platforms from the north to the south of Sweden, and not limit my research to just a few major cities. As I wanted to ensure geographical coverage across the country, I have selected the following cities and platforms: 1. Boden: Harvemagasinet and Bodens Konstgille (2018) and Bodens konsthall (2025) 2. Umeå: Bildmuseet and Galleri Verkligheten 3. Sundsvall: Sundsvall Museum and Sundsvall Art Association 4. Gävle: Gävle Art Centre 5. Stockholm: Liljevalchs and Moderna Museet 6. Gothenburg: Röda Sten and Galleri 54 7. Malmö: Malmö Konsthall and Alta Art Space
By reviewing these platforms’ websites, exhibition catalogues (some available online and some emailed to me) I have been able to identify which exhibitions the various platforms have curated/exhibited and which artists have taken part in these exhibitions. I have then researched all the participating artist and their backgrounds via websites, CVs, social media, Google and my own contacts – such as curators and artists – in order to determine whether they are Swedish BIPOC, white Swedes, artists from other countries or do not fall within the category of contemporary artists. By identifying the number of artists in the various categories and in total, I have been able to produce statistics showing how many Swedish BIPOC artists were exhibited in 2018 and 2025.
As regards to the definition of who is classified as Swedish BIPOC in this research, I have established the following criteria in consultation with Tobias Hübinette: People with backgrounds in the Traveller community (i.e. Roma), Latin America, the Caribbean, the MENA region, sub-Saharan Africa, Asia and Oceania (excluding Australia and New Zealand – the indigenous peoples of these countries, such as the Aboriginal people, are of course included). Along with the Swedish indigenous people, the Sami, these are the groups to which I have chosen to limit this study.
We know that race is a social construct, that racism underpins power structures, that racism creates inequality, that it is structural, and that racism can be institutionalised and be systemic, and that it shapes human subjects and affects people’s living conditions, their opportunities, health, emotions and desires. [1]
On 5 December 2025, the UN Committee on the Elimination of Racial Discrimination (CERD) seriously criticise Sweden’s inadequate efforts to combat racism, hate crime and structural discrimination. Particular attention is paid to the situation of ethnic and ethno religious minorities, including Muslims and people of African descent.
So the question is: why is there a massive lack of representation on our contemporary art platforms for such a large proportion of the Swedish population? After all, we all collectively own these institutions – shouldn’t they therefore also represent the Swedish population as a whole, and not just the white part of the population? How can it be allowed that the stories of Swedish BIPOC are not told? Why is such segregation and injustice permitted within contemporary art?
Racism is a ‘productive technology for the sorting of people and the unequal distribution of resources, which creates the essentialised “people” said to belong to a particular territory and whose prosperity is safeguarded by excluding or subordinating other kinds of people, which naturalises and monitors the power structure, the social relations, identities and flows of resources that this technology has created.[2]
In 2018, a total of 52 solo exhibitions were held on the platforms I have examined, of which 3 featured the work of Swedish BIPOC artists. In other words, 5,7% of solo exhibitions in Sweden showcased the work of Swedish BIPOC artists. In 2025, a total of 43 solo exhibitions were held on the platforms I investigated, of which 2 showcased the work of Swedish BIPOC artists. In other words, 4,6% of solo exhibitions in Sweden showcased the work of Swedish BIPOC artists.
This clearly demonstrates that there is not only a lack of representation on Sweden’s contemporary art scene, but also that Swedish BIPOC artists are excluded from the economic opportunities offered by the art world.
Eunice Olumide wrote in the Observer: The exclusion of non-white people from the art industry – valued at 64 billion dollars globally – has resulted in devastating sociological consequences for our entire modern world.
This system make it more difficult for Swedish BIPOC artist to sell their work, to have their work acquired by major collections, to be exhibited at various platforms and represent Sweden in different art forums around the world. I believe it is up to us art curators to produce texts and exhibitions that invites to a conversation rather than excluding people outside the art world. If we want people in society to engage with contemporary art and art in general, we also need to make people feel welcome into these spaces and discussions about art. And we do so by letting a broader diversity be told, by artists, art curators, art historians and so on.
[1] Manga, E., Gardell, M., Behtoui, A., León Rosales, R. & Ekelund, A. Measuring Racism. (Mångkulturellt centrum, 2022). [2] Manga, E., Gardell, M., Behtoui, A., León Rosales, R. & Ekelund, A. Measuring Racism. (Mångkulturellt centrum, 2022).
Sarah Tawiah Svärd, art curator
Sarah Tawiah is the founder of the company Tawiah Art Curating&Consulting, which she started in 2018. The same year she created the concept 3,5%, which is a counter reaction to the white norm that prevails within contemporary art, by highlighting a different perspective, the concept breaks up the homogeneous perspective that still governs the art scene today. Within the 3.5% concept, everyone is 100% BIPOC (Black, Indigenous, People of Colour) from art curator to artist. So we turn the perspective around and demand our place, as the changes do not seem to happen at a structural level. Her vision with the company is to bring contemporary art closer to a wider public and let art take a bigger part in everyday life in our society. She has a bachelor in art history from Uppsala University and a Masters degree in International art curating at Stockholm university, her university studies are divided between Sweden and UK. Sarah has worked in both private and state-funded art institutions and galleries since 2010, both in Sweden and Ghana.
For more information visit www.tawiahcurating.com or social media: instagram, tre_komma_fem_procent or Facebook, Tawiah Sts