Stockholm Metro

For centuries, fine art has been the symbol of exclusivity and wealth.

When the world’s first art museum, Musei Capitolini in Rome, opened their doors to the public in 1734 under the rule of Clement XII, this was the first time ever that art was not utilised as a symbol of power and riches,but celebrated primarily for its beauty and cultural significance. 

This brief and partial summary of the history of fine art helps to explain why still today, there exists a general reverence for the art world.

Artists are often thought of as belonging to a different dimension, existing in a blurred area between reality and something else, more intangible and abstract. 

Art, when at its best, adds something to the space it exists in. In the past, art was thought to elevate the surroundings and function as a symbol of prosperity. Today, though still often decorative, art is also believed to have the potential to open doors to other ways of thinking, feeling or seeing.

Public transportation is generally designed for efficiency, not immersive cultural experiences. It is about going from A to B in an uncomplicated, often inexpensive way.

The Stockholm metro system was planned according to a slightly different approach.

In 1928, social-democratic leader Per Albin Hansson coined the concept “folkhemmet”, loosely translated as “the people’s home”. By this, he wanted to underscore that Sweden was not only a nation to its citizens, but should also be considered a home to those who lived there. 

This led to the development of stronger infrastructure and investments in higher living standards. In 1950, the first metro line in Stockholm opened, but without artistic decoration. 

The lack of art in these new public spaces led to an intense media debate on the role of art in the Swedish “people’s home”. 

It was eventually decided that art should have a prominent place in the metro, and ever since, and for more than 60 years, more than 150 artists have been invited to share their work with commuters in the metro.

The Stockholm metro is often referred to as the world’s longest art exhibition.

The system stretches over 110 kilometres, and travellers can follow the historical developments in art as they go from one station to another, from the pacifist messages of the 1950s, made by Siri Derkert for the Östermalms torg-station, via the Postmodern times of the 1980s (most significantly displayed at centrally located Kungsträdgården) to today’s more experimental and exploratory period, as displayed at the new commuter train stations Odenplan and T-centralen.

Approximately 90 out of a total 100 stations have incorporated artworks.

The green line was the first to open, in the 1950s, and has many stations above ground, most designed by Peter Celsing. At the time, he was the head architect for Stockholms Spårvägar, but later he became known as one of the foremost Modernist architects in Sweden, having designed buildings such as Kulturhuset, Riksbanken and Filmhuset, all in central Stockholm. 

In the 1960s, the red line was constructed, with most stations placed underground. 

In the 1970s, many stations were designed to resemble grottos, complete with organically shaped walls. Typical for these stations, many of which are placed along the blue line, was that they were designed as total artworks, where artists would work for a long time, in close collaboration with architects and technicians.

During the 1990s, many of the older stations underwent extensive renovations, during which additional artworks were added. As more stations are being added to the system, more art is being made accessible to everyone using the underground part of the Stockholm public transportation system.