Mid Sweden University

This artistic research reflection explores Sweden’s legally-mandated ‘tourist-release’ at the Ångermanälven River’s storied site of Nämforsen. Against World Wars and calls for energy independence of the mid 1940s, the iconic Ångermanälven River was industrialised from a free-flowing salmon river to eventually a series of 44 dams and hydropower plants. Later, a unique environmental court legal judgement resulted in ‘tourist-water’ at Nämforsen that gives the illusion of a free-flowing river during summer months. Existing for solely aesthetic purposes, tourist-water is an unexplored example of the (in)visible powers perpetuating myths associated with hydropower and place in Sweden. Through text and images, this piece reflects on witnessing this tourist-water phenomena through place-based documentary arts practice. The fieldwork is part of a doctoral project in artistic practice focusing on how photography can mediate complex issues in places of environmental change through the case of Nämforsen. Strategies such as framing, time-scaling and montage have emerged from this practice at the same time as ethical concerns related to representation are raised. This case is especially pertinent as hydropower in Sweden comes under increased scrutiny, simultaneously as it is marketed as a sustainable energy solution. The piece furthermore highlights the lasting implications of conservation efforts centred historically on aesthetic rather than ecologic values.