“Excuse me, where are the Donald Duck paintings?” The staffers in the galleries of Helsinki’s Ateneum Art Museum heard this question thousands of times over a space of several months. Another thing they often heard is, “I’ve never been to a museum before, but I came to see the ducks.”
Ateneum negotiated with the National Gallery of Duckburg – or so the story goes – to gain the privilege of exhibiting more than a dozen pieces that show remarkable similarities to classic Finnish artworks in Ateneum’s own collection. The National Gallery of Duckburg exhibition ended on February 25, 2018, but we couldn’t let its runaway success just fade away; our slideshow (below) contains a selection of paintings for anyone who couldn’t make it to Helsinki to see them.
Duckburg is, of course, the city chronicled in the Donald Duck comic books, which hold a special place in the hearts of the Finns, for reasons we’ll get into shortly.
The curators intentionally designed the exhibition so that the location of the Duckburg paintings wouldn’t be immediately obvious. They didn’t have their own room. Instead, they popped up throughout the museum near the Finnish classics that they resemble, mostly in Ateneum’s long-term show, Stories of Finnish Art.
National Gallery of Duckburg created an additional level within Stories, which already contains many layers of meaning. Stories covers a period from the early 1800s to the late 1900s and is arranged salon-style, each wall a constellation of paintings hung close together. Finnish classics and lesser-known works appear side-by-side with those of foreign artists, inviting viewers to notice how artists influenced each other and how Finland’s art world interacted with movements abroad.
The Donald Duck pieces added another dimension by echoing their Finnish counterparts. [Article continues after slideshow.]
Donald’s Finnish role as Aku
The dynamics of the Stories exhibition changed with the addition of Donald Duck characters. “Popular culture and high culture are constantly crossing paths,” says Ateneum chief curator Teijamari Jyrkkiö.
As she describes it, placing Duckburg within Stories highlighted “how our classics stay vital through the years; how other artists borrow from them, too; how popular culture makes use of works of fine art; and how dialogue is always going on.”
Mixing Donald Duck with Finnish classics is not as far-fetched as it may seem. Aku Ankka, as he’s called in Finnish, has achieved lasting strength and popularity stemming from the Aku Ankka comic book, which has been around since 1951. It is the most popular weekly publication in Finland, and also has a larger circulation than the country’s leading monthly consumer magazines.
Many Finns remember Aku Ankka as one of the first things they read by themselves, if not the first thing. “Teachers have been known to tell their pupils, ‘If you don’t read anything else, at least read Aku Ankka,’” says Jyrkkiö. Educators feel comfortable recommending the comic book because it maintains high language standards. Some stories are translated and some are Finnish originals, but all use impeccable, lively Finnish. They also often tie in with current events in Finnish society.
There you have it: An internationally famous American cartoon character known for speaking in incomprehensible quacks on screen paradoxically occupies a role as an enduring champion of written Finnish.
When Aku Ankka editor-in-chief Aki Hyyppä tentatively approached Ateneum, the museum welcomed his suggestion: From a previous project, the comic book’s publisher possessed a couple Donald Duck versions of famous Finnish paintings – how about hanging them in Ateneum? Museum director Susanna Pettersson and her colleagues thought it was a great idea; they even commissioned additional pieces.
“Since the works refer to Finnish classics,” says Jyrkkiö, “we could put them in the galleries beside our own classic works, encouraging the public to compare the Duckburg art with our collection. That provided a new way of capturing the interest of children and young adults, and of anyone who doesn’t usually go to the museum but likes Donald Duck.”
The museum is always interested in getting more children, more families and more men to visit (women tend to outnumber men in the statistics).
The Duckburg show, which opened on October 3, 2017, proved a great success. From January to September of that year, Ateneum averaged 30,000 visitors a month, 4,400 of them children. For the month of October, the count was 48,393 visitors, 12,307 of them children. Over the duration of the exhibition, which lasted just less than five months, the museum received 245,688 visitors (almost 70 percent more than the pre-exhibition average), including 49,786 children.
The exhibition handout, a single sheet of thick paper, the size of a large postcard, listed the Duckburg artworks. It became a treasure hunt, especially good for all the kids. If one of the goals of art is to inspire reactions and conversation, Donald Duck’s presence at Ateneum brought many new voices to the discussion.
By Peter Marten, February 2018