"Project Ålidhem" Ingo Vetter and Peter Lundström

"I like Umeå and Umeå likes me" Lasse Sahlin

"An Important Part of our Education" Students’ Foreword

Ylva Trapp

Frida Krohn
Therese Johansson
Lars Hedelin
Frida Krohn, Ylva Trapp
och Lina Palmqvist

Nguyen Thi Bich Thuy

Per-Arne Sträng
Martina Wolgast
Mariel Rosendahl
Nils-Johan Sjöquist


"The History of Ålidhem" Hans Åkerlind
"My own private Ålidhem" Maria Bjurestam
"Functional Sculpturer" Ingo Vetter

Presentation of Participants


Frida Krohn

How does one do public art? Will everyone be angry? Does it have to be sculpture? Can one eat public art?

At the beginning of the work with public art at Ålidhem I wanted to do something about famous people who had lived in Ålidhem. It became apparent that there weren’t very many; most who had become well known had lived in another district, Sofiehem, and gone to school in Ålidhem. I wanted to make an object for an excursion – for example, one could visit a famous person’s flat, buy postcards, perhaps have a cup of coffee like one often did in other places. The other places I had in mind were Carl and Karin Larsson’s Sundborn and Selma Lagerlöf’s Mårbacka, places that had become their own trademark.

From the idea of an excursion, I went to thoughts of coffee-drinking, a pleasant activity. Often when one arrives at places with many visitors there are locally-produced things to buy, local specialties. This is especially true of picturesque destinations. Ålidhem is not an area one visits because of its coziness or charm. Why are some types of built areas charming and how long does it take before an area becomes so nice that one goes there because of that? Some buildings look like cakes, others don’t.

So – of course, Ålidhem should have its own cake!

Public art that we can have a piece of, have our own memory of. It isn’t there every day when we go to the bus stop. Eating a Ålidhem cake can brighten our existence; we can offer it to visitors who come for coffee.

I was attracted by the aesthetics of bakery goods. They are often very lovely to look at, perhaps because they are associated with something positive. In the film Marie Antoinette by Sofia Coppola many cream cakes are consumed – perhaps on the verge of excess and luxury, to be disgusted by or sucked into. In general, there are many pictures of cakes and food in society. Sales of cookbooks are on the rise. People go for chocolate-tastings and are interested in sour-dough bread. As far as I can see there’s a great interest in food and food culture.

In my work with the cake I have been very influenced by Ålidhem’s appearance - the colour and form of the buildings. My cakes are square and restrained, not much decoration, just like the buildings. They taste of chocolate and orange, a new and exciting taste when the district was built. It can be compared with chocolate and raspberries or chocolate and chili which we find in chocolate cakes today and which we think of as modern. I have understood that the combination of chocolate and orange is something of a love or hate taste experience – rather like the housing areas built in the 1960s and 70s.

When we read about the origins of Ålidhem I was struck by the fact that Ålidhem was planned with a great deal of consideration taken of its residents; how close they would be to their work, how the sun would land in the flats. These are things that are not always noticed. I wanted my cake to feel like a good thought, like care and consideration. Something one can be glad to have in November.

Everyone living in Ålidhem has a Ålidhem cake in their stomach.