Throbbing Gristle First era: 1976-1981 What about the first era 1976-1981? Prostitution, an exhibition which was held in October 1976 at the Institute of Contemporary Arts Was it well-received? I don't know.
Was there any other exhibitions?
Was there any other exhibitions other than the first era of Throbbing Gristle?
Throbbing Gristle evolved from the performance art group COUM Transmissions, which was formed in Kingston upon Hull by a group of performers centred on Genesis P-Orridge and Cosey Fanni Tutti. The last known performance of COUM Transmissions--Prostitution, an exhibition which was held in October 1976 at the Institute of Contemporary Arts--was also the public debut of Throbbing Gristle. Throbbing Gristle's confrontational live performances and use of often disturbing imagery, including pornography and photographs of Nazi concentration camps, gave the group a notorious reputation. However, the group always maintained that their mission was to challenge and explore the darker and obsessive sides of the human condition rather than to make attractive music. Throbbing Gristle made extensive use of pre-recorded tape-based samples and special effects to produce a distinctive, highly distorted background, usually accompanied by lyrics or spoken-word performances by Cosey Fanni Tutti or Genesis P-Orridge. Though they asserted they wanted to provoke their audience into thinking for themselves rather than pushing any specific agenda (as evidenced by the song "Don't Do As You're Told, Do As You Think" on Heathen Earth), Throbbing Gristle also frequently associated with the anarchist punk scene. They appeared in the fanzine Toxic Grafity, with a condensation of their own propaganda parody series, Industrial News. In 1977, they released their debut single, "United / Zyklon B Zombie", followed by an album, The Second Annual Report. Although pressed in a limited initial run of 786 copies on the band's own Industrial Records label, it was later re-released on Mute Records due to high demand; however, this later release was reversed with all tracks playing backwards and in reverse order. This was followed by a series of albums, singles and live performances over a four-year period. On 29 May 1981, Throbbing Gristle performed at the Kezar Pavilion in San Francisco, California, United States. This concert marked the end of the group and its mission. As Cosey succinctly put it, "TG broke up because me and Gen broke up". In 1981 Michael Sheppard, concert promoter and founder of Transparency Record label brought Throbbing Gristle to Los Angeles. Genesis P-Orridge and Peter Christopherson went on to form Psychic TV, while Cosey Fanni Tutti and Carter continued to record together under the names of Chris and Cosey, Carter Tutti and Creative Technology Institute. Christopherson had paricipated in Psyshic TV's first releases, and had later joined John Balance in the latter project Coil. Meanwhile, Gen (now known as Genesis Breyer P-Orridge) subsequently formed Thee Majesty and PTV3 with the help of their wife, Jacqueline "Jaye" Breyer. CANNOTANSWER
CANNOTANSWER
Throbbing Gristle were an English music and visual arts group formed in 1975 in Kingston upon Hull by Genesis P-Orridge, Cosey Fanni Tutti, Peter Christopherson, and Chris Carter. They are widely regarded as pioneers of industrial music. Evolving from the experimental performance art group COUM Transmissions, Throbbing Gristle made their public debut in October 1976 on COUM exhibition Prostitution, and released their debut single "United/Zyklon B Zombie" and debut album The Second Annual Report the following year. Lyrical themes mainly revolved around mysticism, extremist political ideologies, sexuality, dark or underground aspects of society, and idiosyncratic manipulation of language.

The band released several subsequent studio and live albums—including D.o.A: The Third and Final Report of Throbbing Gristle (1978), 20 Jazz Funk Greats (1979), and Heathen Earth (1980)—on their own record label Industrial Records, building a reputation with their transgressive and confrontational aesthetics; they included the extensive use of disturbing visual imagery (such as ironic fascist and Nazi symbolism and pornography), as well as that of sound manipulation (noise and pre-recorded tape-based samples) influenced by works of William S. Burroughs and Brion Gysin.

Throbbing Gristle dissolved in 1981 due to interpersonal differences; the individual members went on to participate in other projects, such as Psychic TV, Coil, and Chris & Cosey. The band was reformed in 2004, and released three more studio albums—TG Now (2004), Part Two (2007), and The Third Mind Movements (2009)—before disbanding again after P-Orridge's departure and Christopherson's death in Autumn 2010. P-Orridge later died in March 2020. The band's final studio project, a cover version of the 1970 Nico album Desertshore titled The Desertshore Installation, was released in 2012 under the moniker X-TG.

History

First era: 1976–1981 

Throbbing Gristle evolved from the performance art group COUM Transmissions, formed in Kingston upon Hull by a group of performers including Genesis P-Orridge and Cosey Fanni Tutti. The last known performance of COUM Transmissions—Prostitution, an exhibition held in October 1976 at the Institute of Contemporary Arts—was also the public debut of Throbbing Gristle.

Throbbing Gristle's confrontational live performances and use of often disturbing imagery, including pornography and photographs of Nazi concentration camps, earned the group a notorious reputation, but they maintained that their mission was to challenge and explore the darker and obsessive sides of the human condition rather than to make attractive music. Throbbing Gristle made extensive use of pre-recorded tape-based samples and special effects to produce a distinctive, highly distorted background, usually accompanied by lyrics or spoken-word performances by Tutti or P-Orridge. Though they asserted that they wanted to provoke their audience into thinking for themselves rather than pushing any specific agenda (as evidenced by the song "Don't Do as You're Told, Do as You Think" on Heathen Earth), Throbbing Gristle frequently associated with the anarchist punk scene. They appeared in the fanzine Toxic Grafity, with a condensation of their own propaganda parody series, Industrial News.

In 1977, they released their debut single "United / Zyklon B Zombie", followed by the album The Second Annual Report. Although pressed in a limited initial run of 786 copies on the band's Industrial Records label, it was rereleased on Mute Records following high demand; however, this later release was reversed, with all tracks playing backwards and in reverse order. This was followed by a series of albums, singles and live performances over a four-year period.

In 1981, Michael Sheppard, concert promoter and founder of Transparency Record label, brought Throbbing Gristle to Los Angeles. On 29 May 1981, Throbbing Gristle performed at the Kezar Pavilion in San Francisco in what would be the group's last performance until 2004. Throbbing Gristle announced their dissolution on 23 June 1981, mailing out postcards declaring that their "mission is terminated." In a 1987 interview, Tutti attributed the band's split to her own breakup with P-Orridge, saying, "TG broke up because me and Gen broke up."

P-Orridge and Peter Christopherson went on to form Psychic TV, and Tutti and Chris Carter continued to record together under the names of Chris & Cosey, Carter Tutti and Creative Technology Institute. Christopherson participated in Psychic TV's first releases, and later joined John Balance in the latter project Coil. P-Orridge subsequently formed Thee Majesty and PTV3 with the help of his wife Jacqueline "Jaye" Breyer.

Second era: 2004–2010 

In 2004, Throbbing Gristle briefly reunited to record and release the limited album TG Now. On 2 April 2007, TG released the album Part Two, which the group had finished recording in Berlin. It was originally set to be released by Mute Records in September 2006 but was delayed for unknown reasons.

In March 2007, Side-Line announced Part Two's final release date, adding that a string of special live events would take place in 2007.

A seven-disc DVD set titled TGV was issued in 2007. The set contains old and new footage of the band. TGV came packaged in a deluxe box with a 64-page book, all designed by Christopherson.

The group performed a reinterpretation of their debut album The Second Annual Report twice in 2008 to mark 30 years since its original release. The performance in Paris on 6 June was issued as a limited-edition framed vinyl set titled The Thirty-Second Annual Report, limited to 777 copies (though some sources claim that there were 785).

Throbbing Gristle worked to record an album based on their interpretation of Nico's album Desertshore. The group issued the entirety of the recording sessions for the album as a limited edition 12-CD set packaged in a custom CD wallet, The Desertshore Installation, which sold out via mail order from the group's website.

In April 2009, Throbbing Gristle toured the United States, appearing at the Coachella Valley Music and Arts Festival and in Los Angeles, New York, San Francisco and Chicago. The Third Mind Movements, a new release, was made available at these shows, which was edited from jams recorded during the Desertshore sessions.

A collaboration with Cerith Wyn Evans titled A=P=P=A=R=I=T=I=O=N was displayed at Tramway, Glasgow from 7 August to 27 September 2009. Throbbing Gristle contributed a multi-channel soundtrack that was played through 16 hanging Audio Spotlight sound panels that Evans had incorporated into his sculpture.

In November 2009, Throbbing Gristle and Industrial Records released their version of the Buddha Machine, titled Gristleism. It was designed by Throbbing Gristle and Christiaan Virant based on FM3's design. Gristleism offers more loops and almost twice the frequency range of the Buddha Machine. The player comes in three colours: black, chrome and red.

On 29 October 2010, Throbbing Gristle announced on their website that P-Orridge had informed them that they were no longer willing to perform with Throbbing Gristle and would be returning to their home in New York. Carter, Cosey and Christopherson finished the tour under the name X-TG.

P-Orridge's website stated that they had not quit Throbbing Gristle and had merely stopped participating on the current tour; it also said that an explanation would be released when all things were cleared up. However, on 24 November 2010, Christopherson died in his sleep at the age of 55, and the band subsequently dissolved.

Third era: 2011–present 

In 2011, Industrial Records had an official "re-activation", as TG's contract with Mute Records had expired. Because TG has disbanded following the death of Christopherson, the label's plan is to re-release the original TG albums (The Second Annual Report, D.o.A: The Third and Final Report, 20 Jazz Funk Greats, Heathen Earth and Greatest Hits) on the label. Originally intended to be released on 26 September 2011, they had to delay due to a Sony DADC warehouse fire in London. The plan changed to issue each album chronologically once per week starting on Halloween 2011 with The Second Annual Report and ending 28 November with Greatest Hits.

Industrial Records announced that a double album, titled Desertshore/The Final Report, would be released on 26 November 2012. Chris and Cosey produced the album, with the participation of guest vocalists Anohni (from Antony and the Johnsons), Blixa Bargeld (from Einstürzende Neubauten), Marc Almond (from Soft Cell), film director Gaspar Noé and former pornography star Sasha Grey.

A group decision had been made before Christopherson's death that the album would be recorded afresh because they were not satisfied with the ICA recordings. Christopherson had been the driving force behind the project and had been working on the record in Bangkok with Danny Hyde, even getting custom instruments made to use for the album. "It was Sleazy's project, then Cosey and Sleazy's, then I came in on it", Carter said in an interview with The Quietus. After Christopherson died, the Desertshore instruments were given to Carter and Cosey, and they began combining the recordings he had been making with the work they had done themselves. They announced plans to debut the album live at AV Festival on 17 March 2012 accompanied by a screening of Philippe Garrel's film The Inner Scar "for which Desertshore was the soundtrack and inspiration".

On 14 March 2020, P-Orridge died.

Legacy 
The band is widely viewed as having created the industrial music genre, along with contemporaries Cabaret Voltaire. The term was coined in the mid-1970s with the founding of Industrial Records by Genesis P-Orridge and Monte Cazazza; on Throbbing Gristle's debut album The Second Annual Report, they coined the slogan "industrial music for industrial people". The first wave of this music appeared with Throbbing Gristle and Cabaret Voltaire.

Alternative Press included Throbbing Gristle in their 1996 list of "100 underground inspirations of the past 20 years."

Wreckers of Civilization, a survey on COUM Transmissions and Throbbing Gristle's original run written by Simon Ford, was published in 1999; its title is a reference to the Prostitution exhibition controversy.

Other, Like Me: The Oral History of COUM Transmissions and Throbbing Gristle, a documentary on both projects consisting of archival footage and photos and interviews with their members, was co-produced by BBC Television and aired on BBC Four in December 2021.

Cover versions
Artists which covered songs by Throbbing Gristle include Marc Almond, Esplendor Geométrico, Peaches, The Horrorist, Merzbow,  Electrosexual/Hanin Elias, NON, Der Blutharsch, and others.

Members 
 Genesis P-Orridge – bass guitar, violin, vocals, guitar (1976–1981, 2004–2010; died 2020)
 Cosey Fanni Tutti – guitars, cornet, vocals, tapes (1976–1981, 2004–2010)
 Peter Christopherson – tapes, sampler, found sounds, cornet, electronics (1976–1981, 2004–2010; died 2010)
 Chris Carter – synthesizers, tapes, electronics, programming (1976–1981, 2004–2010)

Discography 

During Throbbing Gristle's extensive career they have released numerous volumes of music including studio albums, live releases as well as box sets.

Studio albums

 The Second Annual Report (1977)
 D.o.A: The Third and Final Report of Throbbing Gristle (1978)
 20 Jazz Funk Greats (1979)
 Journey Through a Body (1982)
 CD1 (untitled) (1986)
 TG Now (2004)
 Part Two: The Endless Not (2007)
 The Third Mind Movements (2009)
 Desertshore / The Final Report (2012) (as X-TG)

References

Further reading

External links 

 

Cassette culture 1970s–1990s
Ableton Live users
British industrial music groups
British electronic musicians
British experimental musical groups
English post-punk music groups
Dark ambient music groups
Musical groups from London
Musical groups established in 1975
Musical groups disestablished in 1981
Musical groups reestablished in 2004
Musical groups disestablished in 2011
Noise musical groups
Performance artist collectives
Industrial Records artists
The Free Exhibitions (Swedish: Den Fria Konstutställningen, Finnish: Vapaat taidenäyttelyt) were art exhibitions organized in Helsinki, Finland in the years 1896, 1898, 1900 and 1903. They were labeled "free" because they did not have a jury to decide whose paintings or sculptures could be on display as other art exhibitions in Finland did at the time. These exhibitions were organized by the artist Sigurd Wettenhovi-Aspa (1870–1946), who also had the largest number of works displayed in all of the Free Exhibitions. The artist Torsten Wasastjerna was also involved in the organization of the first two exhibitions. The exhibitions attracted attention among the press and public and even a few of Finland's most famous artists, including Eero Järnefelt and Walter Runeberg, participated in one of them. However, the exhibitions gradually lost their popularity, and at the last exhibition in 1903, Sigurd Wettenhovi-Aspa and his brother Ragnar Asp were the only two exhibitors.

Wettenhovi-Aspa as an artist 

Wettenhovi-Aspa studied art in Denmark, where he was taught by artists such as Kristian Zahrtmann and Peder Severin Krøyer. In 1892, Wettenhovi-Aspa moved to Paris after he was awarded a grant. While living in Paris, Wettenhovi-Aspa took part in the Salon de la Rose + Croix in 1893 with Finnish sculptor Ville Vallgren and in Salon de Champ-de-Mars in 1894. In 1895, he was awarded a gold medal in an art exhibition in St. Etienne, France. Wettenhovi-Aspa had made his debut as a painter in 1891 in the Finnish Art Society's exhibition. He was a regular participant in Finnish art exhibitions in the late 19th and early 20th centuries, but he also arranged many exhibitions in Finland and other Nordic countries. Throughout his career, Wettenhovi-Aspa was seen in the Finnish press as a person seeking publicity and sensation whose art was at best controversial and amateurish. Wettenhovi-Aspa was a much contested figure in the Finnish art world, but at the same time, he was friends with many famous Finnish creative artists including composer Jean Sibelius and painter Akseli Gallén-Kallela.

Free exhibitions

1896 

All willing artists were urged to send their works to this Free Exhibition, which opened on 10 December 1896 in the Ateneum Art Museum's hall. The exhibition closed on 10 January 1897 and was seen by over 3,000 paying visitors. Wettenhovi-Aspa displayed 85 works of art and was thus the most substantial exhibitor. The other artists in the first Free Exhibition were Wettenhovi-Aspa's wife Divina Asp, his brother Ragnar Asp, co-organizer Torsten Wasastjerna, Thorsten Waenerberg, C. E. Sjöstrand, Karin Nordenswan and Miss Boldt. The exhibition expanded after its opening as artists like A. J. Rapp send their work to be exhibited there. As the majority of the art work on view was Wettenhovi-Aspa's, the press had the notion that the Free Exhibition was, in fact, his solo exhibition. Likely due to this, the other artists' pieces were not reviewed as closely as Wettenhovi-Aspa's. The press seemed to believe that in an open exhibition the works of art on display were weak and inadequate; paintings or sculptures made with skill were not expected to be encountered. 
Generally speaking, the press responded to the exhibition critically and questioned its artistic value. Nonetheless, the first Free Exhibition was also described as interesting, worth the visit and possessing potential.

1898 

The second Free Exhibition opened on 2 April 1898 in the Ateneum Art Museum's hall, once again organized by Sigurd Wettenhovi-Aspa and Torsten Wasastjerna. Twenty-three painters and 4 sculptors entered the exhibition; in addition, there were 9 unsigned works. The artists were Walter Runeberg, Thorsten Waenerberg, Eero Järnefelt, Carl Eneas Sjöstrand, Alex Federley, Vilhelm Sjöström, J. Montell, Hanna Rönnberg, G. Rosinsky, Oskar Svenberg, Alexander Barkoff, Arthur Harald Gallén, Maria Kolnitsch, Baron Taube, A. J. Rapp, H. Sjernvall, J. F. Tuhkanen, Adolf von Becker, Hugo Backmansson, A. Sandberg, Elis Nyström, A. Loux, Ragnar Asp, Divina Asp and naturally Sigurd Wettenhovi-Aspa and Torsten Wasastjerna. Wettenhovi-Aspa had on display several sculptures and approximately 20 paintings.  In total, there were 120 words of art being exhibited; of these, 106 were paintings and the rest were sculptures. The exhibition expanded again after its opening when J. E. Engelberg, among others, sent a few landscapes to be displayed. The second Free Exhibition closed on 26 April 1898, and in all, it had over 4,000 visitors. Once again, the exhibition was seen in the press as mainly an exhibition of Wettenhovi-Aspa's works. Other artists' did not receive as much notice as Wettenhovi-Aspa, with the exception of Alexander Barkoff, whose art was seen both as trash and interesting. Some of the critics regarded the exhibition as refreshing and interesting and wished it plenty of visitors. Others considered the exhibition substandard.

1900 

Wettenhovi-Aspa organized the third Free Exhibition alone in 1900. The exhibition opened on 11 November 1900, and unlike the previous two exhibitions, was not held in the Ateneum Art Museum because it was under renovation. Instead, the exhibition was organized in the Kappeli Restaurant on Helsinki's Esplanade. There were 9 participants in the third Free Exhibition: Sigurd Wettenhovi-Aspa, his brother Ragnar Asp, Alexander Barkoff, John Rafael Eklund, Teuvo Koskelo, Arvid Liljelund, A. J. Rapp, Karl Walter Smedberg and an artist going by the pseudonym "Henni". Arvid Liljelund's artwork was exhibited posthumously. The exhibition closed on 11 November 1900, and during the month it was open, it had over 5,700 visitors. Press focused once again mainly on criticizing Wettenhovi-Aspa and his works of art. Alexander Barkoff was said to stand out, and the other artists who were exhibited were mentioned only briefly. The exhibition was, yet again, seen as Wettenhovi-Aspa's solo exhibition. The exhibition's critiques were somewhat inconsistent. While some reporters said the artwork on display was ugly and amateurish, others felt the exhibition gave pleasure and food for thought.

1903 

The fourth and the last Free Exhibition opened to the public on 5 April 1903. The venue was once again the Ateneum Art Museum. There were musical performances in the opening, and it was announced as the biggest and the most interesting Free Exhibition to date. The only exhibitors in the fourth Free Exhibition were Sigurd Wettenhovi-Aspa and his brother Ragnar Asp. Wettenhovi-Aspa had 47 pieces of artwork on display and Ragnar Asp had 6. Wettenhovi-Aspa's pieces were history paintings, portraits, landscapes and busts. Ragnar Asp had made a few landscapes and a copy of a Rembrandt. Also, J. E. Engelberg sent a large landscape to the exhibition to be put on display after the opening. The exhibition was said to have had a substantial number of visitors when it closed on 28 April 1903. Because Wettenhovi-Aspa and his brother were the only participants in the exhibition, the press focused on Wettenhovi-Aspa's artwork and wrote virtually nothing about Ragnar Asp. Generally, it was thought that Wettenhovi-Aspa had grand ideas but that his technique was not good enough to realize them.

In relation to other art exhibitions in Nordic countries and in France 

Art life in Nordic countries was changing in the late 19th century. Old traditions were questioned and new art exhibitions were founded. Swedish artists, including Carl Larsson and Ernst Josephson, had founded an artists' society named Konstnärsförbundet in 1886. The society protested against the Swedish art life and education, both of which were thought to be stagnant. The Royal Swedish Academy of Arts arranged exhibitions sporadically, but Konstnärsförbundet held an annual exhibition from the year 1886 onwards. In 1882 in Norway, artists, including Frits Thaulow and Christian Krohg, established The Autumn Exhibition as an objection to Cristiania's Art Society, which was viewed as bourgeois. Anyone could nominate their artwork to the exhibition, but there was a jury deciding whose pieces would be put on display. In Denmark, Den Frie Udstilling was founded in 1891 by young Danish artists. The Royal Danish Academy of Fine Arts was considered too conservative at the time and the artists wanted to create an alternative for their juried exhibitions. Den Frie Udstilling continues to arrange exhibitions that are free to all artists today. It could be argued that Den Frie Udstilling in Denmark and the Salon de la Rose + Croix in France influenced Wettenhovi-Aspa when he was living in Copenhagen and Paris. He might have wanted to bring something similar to the Finnish art world to what he had seen in Europe. The name Free Exhibition, Fria Utställningen, is the first obvious indicator that the Danish exhibitions might have been the model for the Finnish Free Exhibitions. Another indicator is the fact that Wettenhovi-Aspa was living in Denmark when Den Frie Udstilling was founded in 1891 and also took his Free Exhibition to Copenhagen in 1901. Additionally, Salon des Indépendants was a juryless exhibition, and in that regard, the similarities between it and the Free Exhibitions can be seen. As mentioned previously, Wettenhovi-Aspa took part in the Salon de la Rose + Croix. 

The founder of the salon, Joséphin Péladan, was a peculiar character in late 19th century Paris who might have influenced the young Wettenhovi-Aspa. Similarities between Péladan and Wettenhovi-Aspa are found upon examination of their public personas. They both organized exhibitions that had grandiose openings with musical performances. In addition, Wettenhovi-Aspa arranged a game of tombola as part of the second Free Exhibition's opening. Also, they were both ridiculed and criticized for organizing their exhibitions. The purpose of Free Exhibitions was said to be giving young artists an opportunity to get their art on view without the restrictions of a jury. An alternative motive for organizing Free Exhibitions might have been Wettenhovi-Aspa's wish to gain more visibility for his own art. One plausible explanation for the Free Exhibitions running their course might be that they were at first interesting to the public, but as a result of their artistic value being weak, the public lost their interest and its attitude became even derisive. Furthermore, the Free Exhibitions in Finland were perhaps identified too much with one person and because of this were a fleeting phenomenon in the Finnish art history.

Sources

Lindell, Elisa: Vapaat taidenäyttelyt 1896–1903 eurooppalaisessa ja suomalaisessa kontekstissa – Sigurd Wettenhovi-Aspan rooli. Taidehistorian pro gradu -tutkielma. Taiteiden ja kulttuurin tutkimuksen laitos, Jyväskylän yliopisto 2014.

References

Art exhibitions in Finland
Modern art
1896 in Finland
1898 in Finland
1900 in Finland
1903 in Finland Malmö Konsthall is  an hall exhibition located in the center of Malmö, Sweden. It is one of the largest exhibition halls  for contemporary art in Europe.

Building 

The hall was designed by architect Klas Anshelm (1914-1980), who was inspired by the Paris studio of the sculptor Constantin Brâncuși. It was built between 1971-1974 and is constructed of concrete, glass, wood and aluminium. The ceiling is made of domes with natural and artificial light sources. The light well has a large sloping skylight admitting northern light.  The building was awarded the 1974 Kasper Salin Prize  by the Swedish Association of Architects.

The gallery was renovated in 1994, connecting the older brick building next door (Hantverkshuset or Craft Building) with the exhibition hall, and thus gaining space for a book store selling books, posters and postcards, a children’s area and a restaurant that offers Swedish food.

Exhibitions 
The hall arranges exhibitions of international work that included modern art classics and current experiments.
Usually there are about ten different exhibitions each year, attracting over 200,000 visitors.
Exhibitions of well-known artists have included Edvard Munch, Van Gogh, Louise Bourgeois and David Shrigley.
Other exhibitions have shown Kandinsky, Klee, Joan Miró, Giovanni Giacometti, Keith Haring, Andres Serrano, Peter Greenaway and Tony Cragg.
As well as painting and sculpture, the hall is used for events such as theater performances, films and lectures.
The Malmö Konsthall also organizes many educational activities for adults and children.

A travel guide says of the center "In our view, no other venue in southern Sweden so effectively mingles contemporary architecture with modern paintings". Another guide says "even if there was no art there, would be worth visiting for its use of light and space".

References

External links 

 

Art museums and galleries in Sweden
Buildings and structures in Malmö
Art galleries established in 1975
1975 establishments in Sweden
Museums in Skåne County
Tourist attractions in Malmö