The Comics Archive in Sweden --
Cultural Heritage, Preservation and Promotion
Fredrik Strömberg
As more academics, journalists, and historians wish to research and write about comics, there is an increasing need for source materials. However, because of cultural and societal forces not always having been altogether positive concerning the comics, much material has historically been lost. Official archives might not have been, or indeed, still may not be interested in safeguarding artifacts from comics history (Nilsson and Storn, 2003A: 24).
Starting a dedicated archive to facilitate the preservation of the cultural heritage of comics might be a solution, but also a road full of seemingly insurmountable obstacles, not the least concerning financing the enterprise, as well as the long-time safeguarding of the material collected. As an inspiration, this is the story of how the leading comics archive in Northern Europe dedicated to the comics came to be -- despite odds, in some ways, being stacked against it.
Why a Comics Archive?
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| The premium publication of the Comics Archive is Svensk Seriehistoria (Swedish Comics History), a series of high-quality hardcover volumes, each focusing on a specific era, with lengthy articles and interviews. This is the very first one. So far, four volumes have been published since the start in 2004, with a fifth planned for 2026. |
In 1997, when I became president of the Swedish Comics Association -- a non-profit organization started in 1968 to promote the comics, it soon became evident that the 30th anniversary of the association was just around the corner. I had also become one of the editors of the association’s journal, Bild & Bubbla, and we recognized there was a need to write an article on the history of the association. However, it turned out that gathering information for this was not as easy as it might have seemed. The responsibility of organizing the association had been passed between many different hands during almost three decades, and even though it seemed the people who had been working with the association often had kept documents produced within the organization, nothing had ever been centrally collected. The physical artifacts recording the history of the association was thus dispersed in various attics and cellars across Sweden (Strömberg, 2013: 7).
So, we decided to start an archive for the association, and archivist Thomas Storn started traveling around Sweden, collecting official documents, photographs, correspondence, news clippings, and catalogues (Didring Leksell, 2023: 25). A favorite place of retrieval was a (thankfully) abandoned henhouse, belonging to the parents of a person formerly active in the running of the association (Nordström, 2025).
All these activities led to discussions on what was preserved concerning comics history in Sweden in general. In 2001, we applied for and received a small private grant to do an inventory of how artifacts from comics history were being kept in the official Swedish archives. This entailed, among other things, having Storn, who by then was responsible for what was initially titled “Projekt Svensk Seriehistoria” (Project Swedish Comics History), take a trip around Sweden, visiting archives and interviewing their staffs about the preservation of comics history (Nilsson, 2002: 9). The results were not satisfying, to say the least. The official Swedish archives have been assigned to preserve everything ever printed in Sweden -- a system started already in 1661 -- and they mostly do. However, many of the older comic books seemed to have disappeared over the years, as they were presumably not deemed the most important cultural artifacts to preserve, or were commercially valuable enough to steal. Worse was that there seemed to be no institutions interested in preserving unique materials, e.g. manuscripts, originals, and correspondence (Nilsson and Storn, 2003b: 5).
This, combined with the fact that there were recurring reports on comics publishers throwing away crates upon crates of unique material when moving and/or just to save space, or relatives of deceased comics artists having to resort to selling or throwing things out, made us realize that something had to be done. We applied for and got a bigger, governmental grant to lay the groundwork for a proper archive, and even though we found no way of securing a continuous funding, we went ahead with the project based on a determination to do our best to preserve the Swedish comics cultures (Nilsson, 2004: 16). The archive was officially started in Autumn 2003, but a press conference about our intentions had been held already in June that year, at the National Archives in Stockholm, combined with the debut of an exhibition on Swedish comics history. This event gained a fair amount of attention in the media and helped kick start the project, initiating a steady flow of donations that has since built the entire archive (Nilsson and Storn, 2003a: 24).
Swedish Comics History
The archive was officially started as part of the Swedish Comics Association, led by Storn, and with a dedicated working group including Jakob Hallin, Peter Nilsson, and Claes Reimerthi (Nilsson, 2003: 12).
Initially, the effort was divided into two separate though interlinked projects. One was simply called Svenskt Seriearkiv (The Swedish Comics Archive), aimed at kick starting an archive and collecting all the physical material possible. The other was termed “Svensk Seriehistoria” (Swedish Comics History), a concentrated effort to interview as many people as possible from Swedish comics cultures, making sure that information that had not been written down was also preserved. As this effort was initiated in the early 2000s, it was decided to focus on people that had been part of the launch of comic books publishing in Sweden in the 1940s and 1950s, since they were still and available for interviews. The project group interviewed many people, focusing specifically on the less public editorial side of the business, as the artists had often already been interviewed multiple times (Nilsson and Storn, : 7). These interviews were lengthy, and sometimes performed at consecutive meetings, giving the interviewers time to digest the answers, research further, and prepare for more in-depth follow-up questions. At this point, these interviews were also producing so much original information about the history of comics in Sweden that repeat meetings were required as new lines of inquiry constantly arose. Within a few years, the project had produced more than 100 hours of interviews, and managed to transcribe most of them, making the material available for researchers, but also for the production of articles, books, and exhibitions.
The group also interviewed comics artists, especially the ones with long and influential careers, and in the case of artists no longer alive, remaining relatives were located and interviewed (Nilsson and Storn, 2003a: 7). During these interviews, the representatives of the archive were often given privy to unique materials, such as photos, manuscripts, and correspondence, which had frequently been donated and/or photographed, thus adding to the historical material concerning the themes of the interviews (Storn, 2013: 3).
These interviews were also used as the basis for a book series with the same name as the project, i.e. Svensk Seriehistoria, generous (300+ pages) hardcover volumes with lengthy articles and interviews focusing on different eras in Swedish comics history. So far, there has been four volumes, one each focusing on the 1950s and 1960s and two on the 1970s. A fifth, focusing on the important Northern Europe publisher Bonniers and its various comic publishing endeavors since the 19th Century, is forthcoming in 2026 (Strömberg, 2025: 17).
Even though it has since been decided that there was no need for a separately-titled project for the interviews, we have continued to do them, and, to date, we have more than 100 longer interviews made for the archive, and more added continuously.
From Lund to Malmö
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| Project manager and archivist Thomas Storn at the initial incarnation of the Comics Archive in the early aughts, when it was situated at Arkivcentrum Syd (Archival Centre South) in Lund and comprised between 20 and 30 shelf meters. |
When the archive was started, it was decided that the materials collected should be preserved in the best way possible, i.e. in a professional archival milieu. In 2004, we started hiring shelf space at Arkivcentrum Syd (Archival Centre South) in Lund, the largest archival compound in Northern Europe, situated near Lund University, one of the most prestigious universities in Sweden. This assured that the material was always kept in a locked and secure area, at 18 degrees Celsius and 40 percent humidity, perfect for long-term preservation (Zimmerman, 2013: 54).
We were able to do this as we became members of Skånes arkivförbund (The Archival Association of Scane), an organization for archives in southern Sweden that had an agreement with the Arkivcentrum Syd that meant that small archives could rent shelf space by the meter for a nominal fee. We started out with less than 30 shelf meters, and the rent for this was paid several years by a share of that initial governmental grant kept for this specific purpose.
However, after several years in Lund, the city archivist of Malmö contacted the Swedish Comics Association and offered not only shelf space within the City Archive, but also administrative rooms for sorting, registering, and digitizing. We accepted, and the archive, which, by then, encompassed more than 200 shelf meters, was moved, one van at a time, and installed in Malmö in 2014. The placement within the City Archive of Malmö means that the materials are still kept at the correct temperature and humidity, makes the archive officially part of the comics cluster labelled Seriestaden (The Comics City of Malmö), and moved the archive closer to the University of Malmö, which has been very interested in collaborations.
Collections and Archives
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| The Archive contains about 40 000 originals, with everything from rough sketches to painted covers. |
The archive has grown exponentially for more than two decades and, today, it encompasses about 1,200 shelf meters of material. Almost everything preserved in the archive has been donated, since it does not have funds to purchase. However, there has been a steady stream of private donations from collectors and artists, and from publishers, syndicates, and similar organizations, often in bulk. During the last few years, the Swedish subsidiary of Egmont -- the biggest publisher of comics in Northern Europe, completely overhauled its own archive, discarding several trucks load of materials that was subsequently donated to the Comics Archive (Strömberg, 2024: 13).
What does the Archive collect and preserve? We try to get two copies of everything comics-related ever published in Sweden: one to be used for research purposes and one simply for long-term archiving. We also collect foreign editions of comics, especially if they, in any way, relate to Swedish comics cultures. We, for instance, collect journals, books, academic dissertations, etc. about comics in any language for reference. Comics publications in other languages are not deemed our first priority, as they are presumably kept in other archives across the globe, and, thus, only one copy is kept. More on this later.
However, we collect so much more, and it is often these things that are the most interesting. From artists, we get sketches, manuscripts, and originals -- showcasing the artistic processes behind comics. From publishers and editors, we get production materials, such as proofs, reproduction and printing films, coloring instructions, physical cut-and-paste versions of comics pages, and so on, showcasing the production processes involved in communicating the comics. We also get correspondence, advertising, financial documents, and much, much more.
The archive is organized in the same way as most archives, i.e. into separate personal archives based on donations of unique materials from specific persons and/or organizations, but also as collections of specific publication formats, such as comic books, graphic novels, fanzines, books, and journals about comics.
Every time someone donates a comic book, magazine, journal, graphic novel, or any other comics-related printed matter, it is registered and added to the collections. If it’s in Swedish and the archive already has a copy, the second copy is kept in the secondary collection. If the archive already has two copies, all copies are compared and the two copies that are in the best shape are kept, with the third sent to storage to be sold to help finance the archive. We have today more than 70 percent of everything comics related ever published in Sweden and are constantly adding new items to the collections (Strömberg, 2025: 10).
If a professional person or organization in the comics business donates unique material from their comics-related profession, that will also be registered but will constitute a separate archive in the name of said person or organization. In the archive, we, at the moment, have 178 separate archives, ranging from script writers -- e.g. Janne Lundström and Claes Reimerthi; comics artist -- e.g. Ottilia Adelborg, Natalia Batista, Malin Biller, Bud Grace, and Johan Wanloo; editors -- e.g. Ulf Granberg (Fantomen), Kjell Ståhl (Svenska MAD), and Nisse Larsson (DN-serien); publishers -- e.g. Bonnier Carlsen, Egmont, and Ingemar Bengtsson (Optimal Press); syndicates -- Bulls Presstjänst and PIB; organizations -- e.g. Seriefrämjandet/The Swedish Comics Associations, Serieteket, and Serieskolan/The Comics Art School; and historians/scholars -- e.g. Olle Dahlöf and Sture Hegerfors (The Swedish Comics Academy). The donations range from artists donating a few originals, to publishers donating production material by the truckloads. In 2024 alone, we got the equivalent of 60 pallets of donated materials (Strömberg, 2025: 12).
The two different ways of organizing are based on the idea of the material being easy to access for those working with the archive, but also for visitors. If you want to read a year’s worth of a certain comic book title, the issues should all be collected in a dedicated box and not dispersed in the archive based on whomever donated the individual issues. On the same principle, materials concerning the work of a specific artist, editor, or publisher is most easily accessed as a separate entity within the archive, instead of, for instance, sorting this kind of materials thematically.
A major donation on a specific theme might start out as an archive but develop into a collection. This has, for instance, happened with a donation by Swedish comics historian Svante Kjellberg, who had what was probably the largest collection of American underground comics in Northern Europe. He donated his collection to the archive, and it was deemed both interesting and substantial enough to start a new collection specifically for underground material that has since been added to by further donations (Strömberg, 2023: 29). Another example of this is an expansive donation of material from Museum Kasper, a former museum for early 19th Century comics-related art and publications. This has also become a separate collection on the theme of caricature journals, with materials continually added to it.
These collections still retain the name of the original donor, and all the materials can still be traced back to whomever donated it through a paper with a code that is inserted into each of the objects when registered, signifying the donor and the date of the donation. At the same time, the materials get easier to access for everyone involved as it gets placed at one physical location.
Exhibitions and Events
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| At the tenth anniversary of the Swedish Comics Archive, a celebration was organized, with a conference and the debut of two exhibitions at Arkivcentrum Syd, the original venue for the Archive. |
We announced the start of the archive with an event and an exhibition and communicating the information contained in the materials has always been an important part of the assignment of the archive. The archival facilities in Lund where the archive started its existence had auxiliary, public spaces which were used for various activities, including a large conference to celebrate the tenth anniversary of the archive in 2013. This was done with, among other events, the debut of two major exhibitions, the publishing of a special issue of the journal Bild & Bubbla, and, not the least, a full day of lectures and on-stage discussions with artists, publishers, editors and researchers (Mani, 2014: 23).
To maximize the number of people reached, the exhibitions produced for the archive have mostly been made to be mobile, consisting of printed roll-ups that can easily be packaged, transported, and employed in more or less any kind of location. They have been shown throughout Sweden for the last decade or so, often combined with lectures from the curator and/or workshops with local comics artists. We have made an exhibition based on my book, Swedish Comics History (Strömberg, 2010), but also on the oft forgotten history of comic books geared towards female audiences. Recently, we made an exhibition about the history of comic book publishing in Sweden, which is on its third showing. These exhibitions are often showcased at public libraries and/or culture houses, which exist in most towns in Sweden.
We also partake in the recurring comics festivals in Sweden, with booths for showcasing our books and recruiting members, but also often with on-stage events, such as presentations of materials from the archive and interviews with editors and publishers.
Lately, we’ve also produced several events in collaboration with the earlier mentioned Malmö University: smaller symposiums and larger conferences discussing, from various viewpoints, the meetings of academic research and the materials in archives. These events have been international in scope, and have often had guest speakers, e.g. Karen Green, curator for comics and cartoons, Columbia University Libraries, US; Catherine Ferryerolle, the archives at La Cité Internationale de la Bande dessinée d’Angoulême, France; Philippe Capart, La Crypte Tonique, Belgium, and Richard Graham, The Comics and Visual Resources Collections at the University of Nebraska-Lincoln, US (MUCH, 2022).
We often participate in an annual meeting of people working with comics archives, museums, and libraries, organized by the earlier mention Ferryerolle at the archival unit of La Cité in Angoulême, France. These meetings are important, to learn from one another on how to manage and build these collections and archives, and to know what materials are preserved and where to find them. The comics cultures of the world are interlinked in so many ways, and since no one archive can preserve everything, It is necessary to complement one another’s collections.
Books and Publications
Another way we try to make sure that the material in the archive is kept relevant is through publications in articles and books. Throughout the years, a number of visiting authors, journalists, and researchers have used material from the archive for their publications, and this is on the rise, with more requests for visits to the archive.
The publications produced as part of the running of the archive include the already-mentioned flagship book series, Svensk Seriehistoria, which is not the only publishing venue. In 2024, as part of the new organization, we introduced a yearbook, a publication containing articles based on material contained in the archive. The articles vary from analyses of a single cover to overviews of whole publishing ventures but also contain interviews with donors of materials to the archive, and a documentation of the year at the archive. These yearbooks are only available to members of the archive; so far; we’ve produced two, with a third in production.
There is the book series, Seriearkivet Presenterar (The Comics Archive Presents), monographs collecting classic Swedish comics, augmented with lengthy prefaces presenting the artists, the comics and the circumstances surrounding their original publications. These vary from facsimile editions of older comic collections to those of comics that had only been serialized in daily, weekly or monthly publications. Finally, we publish one-off books, such as a book about the Swedish comics script writer par excellence, Claes Reimerthi, who not only was part of starting the archive, but whose whole book collection and professional archive was donated by his daughters when he passed away a few years ago.
These endeavors, i.e. articles and books, but also exhibitions, seminars, and lectures, are done to preserve the materials in the archive, and made to come alive, being part of our society and culture again, which we deem an important part of curating the archive.
A Scandinavian Archive
The new logotype for the Archive, adopted after the name change to simply Seriearkivet, i.e. The Comics Archive.
The Comics Archive is situated in Sweden, but we do collect material from other countries if they connect to Swedish comics cultures. We have, for instance, an extensive collection of the French magazine, Journal de Spirou, back to the 1950s. The serialized comics in that magazine have often been translated and published in Sweden in various formats, and are, thus, interesting for translation research. On the same note, we also have a complete collection of the US MAD Magazine as a complement to the Swedish edition that was published between 1960 and 2002, as well as an archive donated by Kjell Ståhl, one of the last editors of the Swedish edition (Strömberg, 2023: 40).
From the earlier-mentioned donation with artifacts from Museum Kasper, the archive also has a sizeable collection of satirical journals from all over Europe, stemming from the heyday of this early publication platform for comics, i.e. mid-19th Century up until the mid-20th Century. Combining this international collection with an extensive collection of Swedish satirical journals from the same period invites historical comparative studies, as these journals seem to have been collaborating across geographical and cultural borders, not only translating and exchanging comics, but also presumably exchanging visual ideas back and forth, an under-researched area in comics history (see, Strömberg, 2023: 36).
The interconnectedness of Swedish comics cultures to the rest of the world, and especially to our region in Northern Europe, has always been something we’ve been aware of when curating the archive. The idea of a more collaborative effort for preserving the shared comics history led to a project where I traveled to our Nordic neighbors in the early 2020s, visiting their official, governmental archives, talking to the staff about the preservation of comics, but also talking to people interested in either running or starting up national archives for comics in Denmark, Finland, Iceland, and Norway. The conclusions were, 1. that the comics history and culture of Northern Europe is indeed intricately intertwined through publishers, syndicates, and artists, who have throughout the last two centuries often been working with Northern Europe as their market; and 2. that there were few other organizations doing what we do and, thus, a need for the archive to start accepting material from our neighbors, materials that otherwise risked being lost.
As a result of this, we decided to help work for the establishing of more comics archives in Northern Europe. Seeing that this will most likely take time, we also changed the name of the archive from The Swedish Comics Archive, to simply The Comics Archive in order to prepare for adding material from the other countries in Northern Europe (Strömberg 2025a: 8).
There is, at the moment, no active comics archive in Denmark, and the archive has thus been asked to help preserve Danish material. To do this, we started by changing the way we organize, catalogue, and persevere Danish comics, making them equal in our systems to comics from Sweden, i.e. we strive to archive two copies of all comics-related publications, but also to actively collect unique Danish material. We started by helping to retrieve all comics-related materials from the estate of legendary Danish publisher Jens Peder Agger, who was instrumental in introducing French and Belgian comics albums into Northern Europe, and among other things, acted as the international agent of Will Eisner. We also got the archive from the Danish syndicate PIB, which was kept in a cellar, risking being thrown away. After this, more donations came, and the Danish part of the archive is growing. We have also become more active in collecting material from Denmark, for instance taking part in the comics festival Copenhagen Comics, asking all participating publishers to donate copies of their books.
So, we are now officially a Scandinavian comics archive (Strömberg, 2025a: 8).
Its Own Organization
During the early 2020s, it became evident that the archive had outgrown its place as a “mere” project within the Swedish Comics Association, and, in 2022, we started a new, separate organization for the archive. I am its first president, and Jakob Hallin and Thomas Storn are members of the new board of directors; Hallin is the manager of the new organization. To depart from the Swedish Comics Association was not an easy decision, but the right one. The archive had grown exponentially and was now a major part of the association’s activities, at the same time as the new board of directors that had taken over after I’ve made my departure as president in order to finish my PhD, were more interested in organizing other activities in the name of the association (Strömberg, 2025a: 8).
Since then, the archive has grown, getting large donations almost weekly. We today rent 1,150 shelf meters in the City Archive of Malmö, but that space is not nearly enough to accept what we have received the last couple of years, which is in various stages of being sorted, registered, and digitized. As the shelf space in the Malmö Archive is rapidly running out, we are right now looking into once again renting additional shelf space at Arkivcentrum Syd in Lund. We are, at the same time, in talks with the city of Malmö for long-term expansions of the archival facilities.
The efficiency regarding registering and digitizing the material has been strengthened in the last couple of years. In 2024, we registered 27,490 donated publications, increasing the total of registered donated publications since the start to 151,872. An estimated 90,000 publications awaited being sorted and registered at end of the year. Of the 27,490 registered publications, 7,196 were new additions to the collections, moving us closer to owning a copy of everything comics-related ever published in Sweden. During the same year, we managed to digitize 13,138 covers and interior pages (Strömberg, 2025: 11–12).
This is all managed by the executive manager, who has five part-time assistants and about 15 additional people helping out. Together, they are manning six administrative rooms, as well as one major room for accepting and initial sorting of more expansive donations, as well as one storage room for discarded copies. A lot of the work done involves moving the materials between these rooms, depending on where in the process it is, before it ends up in the actual archival vaults. There are four, soon to be five, workspaces for digitization, focusing on different kinds of media, as well as ten workplaces for registering and eight more for sorting and handling of everything that is being donated.
Financing
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Every ten years, the journal Bild & Bubbla has had an issue dedicated to celebrating Swedish comics history, coinciding with the start of the archive in 2003, the tenth anniversary in 2013 and the 20th century in 2023. |
A lot of factors have been set against the existence of a dedicated comics archive in Sweden, not the least, the earlier-mentioned historical disregard for comics as something deserving to be preserved in archives and museums. More recently, the work to establish The Comics Archive has been met with a reluctance to finance a new archive, as these institutions are all competing for a shrinking amount of governmental financing in Sweden, at the same time as comics publishers are facing drops in sales, making them less likely to sponsor an archival endeavor.
However, a lot of factors have also worked for the establishing of the archive. First and foremost is that a lot of people have been willing to work tirelessly and without pay for years and years, decades in fact. The amount of time that people such as Jakob Hallin, Peter Nilsson, Claes Reimerthi, Thomas Storn, myself, and many more have put in on all levels of the building of the archive can’t be overestimated and has also often come at a cost of lost income for the people involved.
That Thomas Storn is a professional archivist has been extremely important, meaning that the archive from the start was organized professionally. It also meant that we had connections within the archival world. Without these facts, it would probably have been difficult to get our archive into the official archives that it has resided in.
Second, that the Swedish Comics Association already existed, since 1968, meant there was a safe harbor for the initial phase of the archive. The association had a solid reputation among potential financiers; an established system for handling day-to-day administrative tasks, such as applying for grants, sending reports, paying salaries, taxes and so on, and a large group of dedicated members from which to recruit people to work with the archive once it was founded. The association also had a journal, which throughout the years has worked as a publishing platform for disseminating information from the archive’s collections, including three thematic issues that have been produced every ten years, commemorating the start of the archive, as well as its 10th and 20th anniversaries.
The association was where people, such as Jakob Hallin and myself, cut our teeth at applying for grants, managing projects, producing books and exhibitions, and leading and organizing an NGO.
Third, even though it has sometimes been difficult, the archive was started in a country with a well-established system of governmental and private grants for supporting cultural endeavors. Throughout the years we have applied for and received different grants, from financing specific technologies used in, for instance, digitization, to funding the production of books and/or exhibitions. Since we became our own organization, we have also been able to get a substantial governmental grant every year for the digitization that we do as part of a national undertaking to digitize as much as possible of the Swedish national heritage.
We have a system in Sweden of supporting people who, for various reasons, have ended up outside of the traditional workforce, giving people often with physical and/or mental problems the opportunity to do what is labelled as “work training” with designated organizers. We have been doing this for well over a decade and usually have between four and 20 people organizing, registering, and digitizing the material in the archive. We get governmental money each day a person is work training at the archive, so this system both helps in the Sisyphean work of handling the material and finances the archive. Some of the people that have work trained have later been employed as assistants at the archive, and for this, the government pays a substantial part of their salaries, making it possible to have more assistants than we would otherwise be able to.
Finally, we have been able to get considerable donations from a comics artist and publisher who wants to support what we do. This has sometimes amounted to more than what we’ve gotten from governmental grants and has been indispensable, especially in the pivotal years after we broke free from the Swedish Comics Association. We are, at the moment, in talks with another potential patron and hope to extend this part of the financing of the archive.
Furthermore, we plan to start selling copies of comic books and graphic novels that are not in the better condition of the ones we’ve been given through donations. We’ve been sorting these by year and have a huge storage of them, but have not had the time to build a system for handling this more commercial part of the archive.
The Future
When we started the archive in 2003, a lot of people seemed skeptical as to the actual use of such an endeavor and/or were disinterested in it. That has changed, and today, there is a growing interest in the preservation of comics history.
Fredrik Strömberg is a Swedish researcher, journalist, and author. He is chief editor of Bild & Bubbla, the world’s second oldest magazine about comics, and president of The Comics Archive in Malmö Among the books he has written are Swedish Comics History, Black Images in the Comics, The Comics Go to Hell, Jewish Images in the Comics, and Comic Art Propaganda. Strömberg’s thesis, Comics and the Middle East -- Representation, Accommodation, Integration, was defended at Malmö University in 2022.
References
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