In the picture, from left: Plato´s cave (2019) by Samson Kambalu, Cabinet of Process (2020) by Matthias van Arkel and Curiosity Cabinet (boron 10 mg): You, me, rock, mountain-commodities of the quantified universe (Impact Crater) (2019) by Hanna Ljungh.

The Cabinet Room: a magnifying glass that we can use to study ourselves and the world

The Cabinet Room was inaugurated in January 2021 as one of the first Art Classrooms at the School. It takes its name from the Cabinets of Curiosities of the sixteenth century: intricately designed cabinets that housed wondrous curiosities collected from all corners of the world by that time’s ‘explorers’.

Between the 15th and 18th centuries, European seafarers ventured across the globe, expanding both their empires and their understanding of the world. This period, known as the Age of Exploration, was marked by a mix of ambition and colonial conquest, as well as a sense of curiosity about lands, peoples, and ideas beyond Europe. As ‘explorers’ returned, they brought back objects, plants, animals, and cultural artifacts—items that fascinated aristocratic collectors back home. These were arranged into Cabinets of Curiosities: spaces, sometimes as small as a cabinet or as large as a room, where  what was seen as natural wonders and strange treasures were displayed together in the name of learning, wonder, and status. In the 18th century, the Curiosity Cabinets gave way to more encyclopedic categorization and specific collections, for example of plats or sea-creatures. While problematic in their ties to colonial conquest and imperial ambition, the cabinets represent early attempts in European culture to systematize knowledge. In this sense, they laid the foundation for what became modern museums and, in extension, the research-driven educational institutions that followed – universities like ours.

The Cabinet Room at SSE draws inspiration from these Cabinets of Curiosities. Much like its historical namesake, the Cabinet Room is a space designed to collect, provoke, and inspire. It offers good acoustics, integrated technology, and flexible furniture that can be rearranged to suit the evolving needs of creative learning. Nesting boxes and birdhouse-like alcoves invite students to settle in for study or reflection, even outside class hours. The room is a space for self-directed inquiry, contemplation, and the stimulation of the senses. Artworks are not decorative; they are chosen for their capacity to challenge and ignite reflection and imagination.

Hanna Ljungh’s Curiosity Cabinet (boron 10 mg): You, me, rock, mountain – commodities of the quantified universe (Impact Crater) contains 10 mg of boron – the same amount found in the human body. Some scientists believe this semi-metal, possibly delivered by meteorites, helped spark life on Earth. Its presence in the artwork invites reflection on our cosmic kinship, extending beyond earthly life. Samson Kambalu’s Plato’s Cave references the classical allegory, prompting questions about truth and perception. Gustaf Nordenskiöld’s Beardrops alludes to Antarctic glaciers and climate change, while Dan Wolgers offers a poetic interpretation of a world that has fallen apart. Also in the room: Self-portrait by Bella Rune, from her exhibition Skendöd (Sham Death); Mattias van Arkel’s Cabinet of Process; Fossil 3 and Fossil 9 by Linda Bäckström; and two drawings by Sara-Vide Ericson – The First Tiipi and Study for Manta Ray.

Read more about the different artworks through the links below.

Artists represented in The Cabinet Room are:
Bella Rune, Dan Wolgers, Gustaf Nordenskiöld, Hanna Ljungh, Linda Bäckström, Matthias van Arkel, Samson Kambalu and Sara-Vide Ericson.

The Cabinet Room was made possible thanks to a donation and the engagement of SSE alumn Staffan Olsson.

Photos: Jäger Arén

In the picture, from left: The First Tipii (2014) and Study for Manta Ray (2016) by Sara-Vide Ericson, Self portait (2020) by Bella Rune, Fossil 3 (2015) and Fossil 9 (2015) by Linda Bäckström and Mother and child (1997-2020) by Dan Wolgers.