LET the RIVER FLOW the SOVEREIGN WILL and the MAKING of a NEW WORLDLINESS Let the River Flow

LET THE RIVER FLOW THE SOVEREIGN WILL AND THE MAKING OF A NEW WORLDLINESS Let the River Flow. Exhibition Dates: The Sovereign Will and the Thursday, 20 April–Sunday, Making of a New Worldliness 3 June Opening Hours: Wednesday to Sunday from 11:00 to 17:00

Office for Contemporary Art Norway Nedre gate 7 0551 Oslo

The Office for Contemporary Art OCA, Oslo office and project Norway is a non-profit founda- space tion created by the Norwegian Nedre gate 7 Ministries of Culture and of 0551 Oslo, Norway Foreign Affairs in 2001, with an arm’s length policy. Its principle OCA, Romsa (Tromsø) office aim is to foster dialogue between c/o The Cultural Business Devel- the art field in Norway, including opment Foundation SpareBank 1 Sami practitioners, and the in- Nord-Norge ternational arts scene; as well as Storgata 69 support these artistic figures in 9008 Tromsø, Norway their activities around the world. As a result, OCA’s discursive, tel: +47 23 23 31 50 exhibition, publication, residency www.oca.no / [email protected] and visitor programmes focus on bringing to Norway the plurality of practices and histories at the forefront of international artistic debates, and participating in such debates nationally and internationally. OCA has been responsible for Norway’s contribution to the visual arts section of the Venice Biennale since 2001. Let the River Flow. The Sovereign Will and the Making of a New Worldliness 4 Foreword 5 showcases the essential role of Sámi artists in the in showcases artists the of Sámi essentialrole Russia). and Sweden, Finland The exhibition traversesland the four nation-states of Norway, (whose Sápmi, across peoples and peers cultural other and scholars, with artists, of dialogue well spheres. as political as the ecological world artistic, across –in spreading movements within role Indigenous the powerful internationally, arenas cultural play and essential an prestigious the in most voices heard being are worldviews today.and danger isserious in Their culture, of Sámi livelihood thatsurvival theand very on,thinkers early thatstalled claim this process worldwide. Yet and artists of Sámi anew generation at the forefront policymaking justice of social that potentially One Norway decolonisation. placed 1989,in of Nordic anew in era the ushered action Parliament, Kárášjohka, the creation of aSámi and signature of the United Nations’ ILO Convention169 that historians claim bySome Norway’s catalysing empowerment of the time. historiesas well of Indigenous as the emerging the in 1970s,a new consciousness environmental of Moreover was action the Áltá part strikes hunger 1979 in the Oslo in Sámi 1981. and protest Europe, in as was – climax dramatic its of social withinwas the history as unprecedented environmental protectors. The resistance movement as well heritage, cultural as their as on role would have communities, their livelihoods, Sámi on of Sápmi areas that of large the flooding impact played role. artists acrucial which Sámi international and –in Norwegian –Sámi, civil society unexpectedly movement across broad of solidarity Norway. /Northern river grew It Sápmi in from an Álttáeatnu the legendary across dam of large a river live” the construction against was launched to call Its “let region. the in Nordic the of history Waterway (c. 1978–1982) the course shook radically The People’s the Action Áltá-Guovdageaidnu against ‘Let the River Flow’ is the of years fruit three Today, the Action bitter-sweet elicits memories. to grew action reaction in The Áltá the profound 6 A-Lab (KáreA-Lab Anti) Torsteinsen R. and Design. of the architects collaboration Sámi-Norwegian a and the team curatorial between ofresult discussions Dr. Gunvor The exhibition Guttorm. is the design Prof. scholars, of Sámi consisting and Gaski Harald Council by Advisory of an thehonoured guidance Antón, with been has Antonio Cataldo. The project to aworld history scale. of art expanding the canon to dedicated museologies the new global, modernist amongst art of Sámi the place challenges and claims today.of Áltá ‘Let the River Flow’ simultaneously commissions thatcontemporary explore the legacy Waterthe Áltá-Guovdageaidnu System, new and of the Protest of Movement the Damming against duodji,of as well as material from The Archives Nordic art-historical a small and number canon historic works, rare by presents It the side-lined well as the solidarity of non-Sámi counterparts. Dáiddajoavku Mázejoavku: the seminal Sámi action, particular in ‘Let the River Flow’ is curated by Katya García- (Sámi Artists’ Group, (Sámi 1978-83), Artists’ as 7 Artists and Works and Artists 8 the world. world. the family of Indigenous peoples throughout global million-strong 370 over the amongst Sámi the of place the acknowledging 2001, all embraces cultures, Indigenous in published Mother) My Earth, (The its companion piece Eanni, eannázan terms, Sámi in life of cycles mythological While Beaivi, áhčážan establishes the well. so knew he communities Sámi the images, and musical scores drawn from poetry, integrating by 2004) Shaman”, as Poet Native “The Dana, Osgood (Kathleen Sámi” the for album family ultimate “the as acts also but museums, archivesanthropological of Western the from imagery presents book The world. the around archives from gleaned photographs 400 nearly of abook compile Áillohaš used this fact extraordinary to studied peoples Indigenous on Earth.” most the are Sámi “the that fact the (2010), Prof. John Weinstock’s highlights of Indigeneity Question the and Time Sami Around: Comes Around Goes What In Sápmi. of colonisation Nordic the from resulted that trauma social and destruction cultural the reveals work Áillohaš’s Father). Beaivi, My Sun, áhčážan (The photography, and poetry of book the for Prize Literature Council Nordic the won he 1991, In ways. many in decolonisation to path the led and period, post-war the during culture Sámi empowering to life his dedicated Áillohaš, intellectual and artist Sámi iconic the time, his of ahead Always Áillohaš/ Nils-Aslak Valkepää Lender: Year: Medium: Far Min /Solen, áhčážan /Beaivi, Father My Sun, The 1988 DAT Book, 460 pp. 460 Book,

A (Canada) Island Turtle Alberni, Port in 1975 of Peoples Indigenous of Council World the of meeting inaugural the In available. widely practice Sámi this making in step first instruments. the was Joikuja (1968) introducing the unprecedented use of form, cultural aliving as yoik the kindled meaningful connection between all things. a of guarantor the as and humanity, and nature cosmos, the between a mediator as role aleading on takes yoik the work, sound this In Gaup. Áilu Ántte Ingor musician Sámi young the of yoiking the with interlaced were protesters of sound the and helicopters police of buzzing ominous the action, the of violence the and revolved, controversy the which around river the region, the of peacefulness the of circular sound geometry. Field recordings a with arecording is Sápmi, O Sápmi! times. the of emblematic recordings of aseries together put Áillohaš action, Áltá the of time the at rights Sámi demanding region Nordic the across developed that Sápmi. from representatives as him accompanied Åhren Ingwar and Utsi Mikal Per Sara, Parliament), Esko Palonoja, Aslak Nils Sámi Norwegian the of president first the become to on went (who Magga Henrik Ole Lukkari, Pekka Keskitalo, Isak Alf credence. across the globe were gaining significant when legal debates for rights Indigenous time a at community, international larger the within peoples Sámi of acceptance the secured This Indigeneity. their with the delegates present, connecting deeply sin and barbaric behaviour. A drunkenness, with it associating as far as went who fundamentalists religious by suppression of Sámi culture, particularly devil’s music under centuries of Nordic as banned was music, Euro-American in known commonly is what from differs that form musical aSámi yoik, The illoha As part of the social justice movement movement justice social the of part As s Lender: Duration: Year Medium: (Sápmi min lille fugl) OSápmi! /Sápmi, I) Lottážan (Sápmi Sápmi, Vuoi Sápmi! / Bird) Little My (Sápmi OSápmi! Sápmi, & Áillohaš). Gaup Áillohaččat ’s yoik is said to have electrified electrified have to said is ’s yoik : 1982 DAT Audio recording 22′ 26” 22′ (Ingor Ántte Áilu Ántte (Ingor illoha s re- 9 Beaivváš in 2007. in Beaivváš Theatre National Sámi the at language Sámi original its in staged was and 1995, in Japan in premiered which Dream-Seer), Nieguid Oaidni ja Ridn’oaivi play the and 2001) Mother, Eanni, eannázan 1985); Wind, Ruoktu Váimmus the of (Trekways are writings famous most his Among China. international venues, including Japan and in exhibited were artworks his later and 1991, in Festival Arts Arctic the at artist afestival was He 1995. in Star White the of Order Estonian the received and (Rovaniemi), Roavenjárga and Oulu of universities the from doctorate honorary an awarded was He Municipality. (Enontekiö) Eanodat of Award Cultural the received he 1994, In attention. international great dušše Goase his for Italia Prix competition radio European the in prize special jury’s the received he 1993 In Father). My Sun, for Prize Literature Council’s Nordic the awarded was he 1991, In Lapland). from (as Greetings English and Nynorsk to translated subsequently (1971), Lapista Terveisiä pamphlet the with came author an as debut His Association). (the Searvi Dáiddačehpiid Sámi Artists’ Sámi and Association) Authors’ Sámi (the organisations Sámi Girječálliid Searvi artist Sámi the of formation the initiated he 1979 in and Peoples), Indigenous of Council (World WCIP the of coordinator artistic the as served he 1978-81, From DAT 1984. in house publishing Sámi the more, including the establishment of much and work publishing abroad, and home at both concerts exhibitions, art compositions, books, photo and visual as developed and LPs on yoiks of release the included first which project, life his become would what on took he education, the profession. after Shortly receiving his entered never but (Kemijärvi), Giemajávri in ateacher as trained He side. Norwegian the on (Skibotn), Ivgubahta to moved later and Sápmi, of side Finnish the on born was He rights. and life cultural Sámi of empowerment the to life his writer, musician and who artist dedicated Áillohaš Nils-Aslak Valkepää, also known as (Bird Symphony), which garnered garnered which Symphony), (Bird (b. 1943 – d. 2001), was a Sámi aSámi was 2001), – d. 1943 (b. (The Frost-Haired and the the and Frost-Haired (The Beaivi, áhčážan (The Earth, My My Earth, (The (The (The 10 (Kautokeino). (Kautokeino). Guovdageaidnu of municipality the in L of village small the in school erected newly the for a piece make to collective the of members five to invitation an extended having Group, Artists’ Sámi the as known be to came what behind force a also was He pride. with identity Sámi their reclaim to artists Sámi inspired work Jåks’ culture. Sámi on effects resulting the and 1979 by catalysed changes to relates grain the against culture Sámi beliefs. Sámi in embedded life of cycle natural the to connected be should perishability ambassador of Sámi culture, duodji’s an As disintegration. gradual of process a in are they possible, interventions fewest the with and chance, by arranged Seemingly decade. passing each with naturally transform they as pieces, static works arethree-dimensional therefore not Jåks’ ‘soul’. their potential, their called he what display to tried He materials. the of qualities inner the reveal to worked Jåks techniques), and approach this mastered has who aperson to given recognition qualified highly a As experiences in contemporary art”, 2014). Sámi as “Doudji Snarby, (Irene itself item the and item an of making the both is duodji sense, this In systems. belief and epistemologies Sámi of part integral an are leather) reindeer or wood as (such materials working of use and treatment gathering, the where level, equal and and spiritual activities on an interrelated concept places multiple practical, social the argues, Snarby Irene scholar Sámi the As culture. and life of view a holistic signifies and meaning of layers profound embraces that aterm is handicraft’, ‘Sámi as mistranslated often Duodji, excellence aesthetic of level highest the at duodji to visibility bringing for artist Sámi apioneering considered is Jåks Iver Jåks Iver BONO, Oslo 2018 Oslo BONO, Image courtesy (RDM) RiddoDuottarMuseat Sámi – Dáiddamágasiidna Repository/ Art Lender: Sámi 1979 Year: cm x25 x20 Dimensions: 29 sisti Materials: Oppadstrevende samekultur viggamin Sápmái duddjomat the grain against culture Sámi Jåks. Iver (reindeer skin) Bajás guvlui guvlui /Bajás Wood, reindeer horn, duojár : © Iver Jåks/ : ©Iver (the highest highest (the a hpoluoppal hpoluoppal / , . 1998–99. in exhibition retrospective Jåks Iver an held Oslo) Design, and Architecture Art, of Museum National (the Art Contemporary of Museum The Olav. St. of Order Norwegian Royal the of Order First the in knighthood, a given was he 2002 in and 1992, in Award Honorary Norway Council Arts the received He Museum. University Tromsø the and inthe Kárášjohka, RiddoDuottarMuseat as such buildings public for commissions on worked and books, Sámi of a number illustrated Jåks rituals. shamanistic for used drums Sámi the on found worlds spiritual of layers different representing patterns the including inspiration, for beliefs and culture Sámi old to looked He bone. and skin horn, wood, as such materials natural with working duojár, a and sculptor painter, illustrator, an was Jåks time. that at Copenhagen in with the European avant-gardes prominent dialogue into work his brought Denmark in education His Arts. Fine of Academy Danish Royal the at and Arts) the of Academy National Oslo the (now Industry Crafts and Arts the of Academy National Norwegian the at studied He (Karasjok). Kárášjohka in herders reindeer of family a into born was (1932–2007) Jåks Iver 11 galgga sojahit eambbo go gierd ii Muora in reported as active, less are trees when winter the in or autumn the in recommends, for example, harvesting burls He burl. the cut to when understand to order in year the of parts different during dynamics tree’s the of awareness gaining advocates Andersen Ole Jon duojár The material. the treat to needed knowledge the and environment the to connections grows, and in which direction, determine it where terrain the duojár the For trunks. tree on growing found be can that burls the as much as tradition, duodji the in material shape. arough to contoured burl, birch carved Guksi Andersen Ole Jon informs the duojár’s holistic approach. nature Thus, Geving. Bente and Persen Synnøve by (1999) birra Andersena Ole Jon

B irch wood has been an important important an been has wood irch is a drinking cup obtained from from obtained cup drinking a is RiddoDuottarMuseat (RDM) RiddoDuottarMuseat – (SVD) Vuorká-Dávvirat Sámiid Lender: Dimensions: Year: Materials: Jon Ole Andersen. Guksi 1985 The Sámi Collections / Collections Sámi The Wood and reindeer horn 18 x 10 cm 10 x 18 a : duoj a r a 40 years, and unrealised to date. to unrealised and years, 40 collections has been under planning for the all host to able Museum Sámi anew for Aproject reality”. of understanding Sámi –a space and time of conception a Sámi into itself “inscribes instead museum The society”. dominant the of history and time of conceptions the “undermine to effort an as seen be can display the that write Nielssen Hilde and Lien Sigrid worlds; cosmological Sámi and museum the of space the between aconnection evokes system display innovative Andersen’s and Jåks hall. entrance the in sculptures and reliefs made Jåks Iver identity. and culture Sámi strengthening of aim the with Norway in Museum Sámi first the as 1972 in established was It museums. outdoors exhibition spaces, repositories and of consists RidduDuottarMuseat The (RDM) inRiddoDuottarMuseat Kárásjohka. the for Collections) Sámi (The Dávvirat Vuorká- Sámiid the of installations for creating the first permanent artistic responsible was Andersen Ole Jon Jåks, Iver with Together duodji. promotes which ealáhussearvi in 1998, an organisation of initiators the among was architects, and artists designers. He Sámi to also but duojárs, other to only not inspiration of asource is Andersen Ole Jon expression, cultural visual Sámi duodji that Given Guovdageaidnu. in Sciences Applied of University Sámi the at duojár) (Honorary ‘gudneduojár’ of title the holds He duodji). in expert (an duojár foremost Sápmi’s of one is and Kárásjohka) in works and [Tana], lives Deatnu [Horma], Horbmá 1932, (b. Andersen Ole Jon militarily and culturally speaking. both period acolonial as unravelled has premised upon European enlightenment, 1950, to 1650 approximately from running era historical an Modernity, modern. the of perspective Western the from duodji limitations inherent to comprehending the to testifies craft a as misconceived consistently been has duodji that fact The expression, it also embodies a worldview. of form apersonal is it Whilst society. Sámi to central is that mind of frame a as and activity an as both regarded be should Duodji life. Sámi to, everyday integral stressing that duodji A lthough obvious to many, it is worth worth is many, to it obvious lthough holds the highest regard in all all in regard highest the holds is based on, and and on, based is Duojáriid 12 Saami Council meeting, 15 the for morning next the raised be could it so selection, its of night the exhibition) the in (displayed proposal winning Båhl’s Astrid of acopy stitched flag, Sámi official first the elect to committee the on was who Huuva, time. this at recognition for fought that practitioners art Sámi to cause. Huuva’s work was inspirational Indigenous the of support public their alliesIndigenous intent on demonstrating communities as well as amongst non- Sámi amongst clothing Sámi of elements (boots), biesko of revival the to led Huuva as such pioneering work of practitioners empowerment. The cultural this channel to upon called were symbols Sámi and identity, strengthening for atool as used clothing and accessories were expertly it, followed that years the and action Áltá the to leading decade the In Oslo. as such restaurants, especially in large cities as such places public to access barred people in Sámi clothing were habitually and society, Nordic amongst markers cultural Sámi of arejection been had there then Until 1970s. the during identity Sámi of empowerment the to led that movement Sámáidahttan (Sámification) called so fuelling the in instrumental was duojár, askilled Huuva, Rose-Marie HuuvaRose-Marie Huuva Image (RDM) RiddoDuottarMuseat – (SVD) Vuorká-Dávvirat Sámiid Lender: Dimensions: Year: Materials: Giehtabáddi / Armbånd / Bracelet Huuva. Rose-Marie Huuva Image (RDM) RiddoDuottarMuseat – (SVD) Vuorká-Dávvirat Sámiid Lender: Dimensions: Year: Materials: Eahketveasku / Aftenveske / bag Evening Huuva. Rose-Marie 1985 1985 courtesy courtesy (dress) and other other (dress) and gákti The Sámi Collections / Collections Sámi The / Collections Sámi The Textile, silk and cotton and silk Textile, cotton and silk Textile, 26 x 15.5 cm x15.5 26 cm x15.5 26 : ©Rose-Marie : ©Rose-Marie : ©Rose-Marie

August 1986. (tanned reindeer hide). Rubus arcticus. arcticus. Scholarship Rubus Cultural the awarded was she 2003 In 2001. in Prize Literature Council’s Nordic the for nominated was she which for 1999 Galbma Radna collection poetry the published She 1980s. early the in anthologies and magazines in published first was she apoet, As apoet. and duojár a artist, textile and avisual is Sweden) /Northern Sápmi Kiruna, Sameby, Gabna Rensjön, 1943, (b. Huuva Rose-Marie policies. these of aresult as neglected, largely been otherwise have would which practices, and knowledges light to brought has Huuva work her Through women. Sámi sterilised and graves, and people living from samples collected that create a biological race-based institute to as Sweden in far so went movement apolitical 1920, and 1913 Between exemptions. military and allowances, tax rights, water and land as such incentives through regions northern the to move Swedish settlers were encouraged to culture. Sámi over prevailed North the in Nordic countries. State economic interests the across schools in forbidden even and Sámi languages was heavily discouraged datneárpu asthe techniques such Sámi unique dominant aesthetic whilst revitalising matching thread silk silver as such 1980s the during fashion in materials with play They equivalents. Finnish and Swedish its during the Norwegianisation process and disappearance into forced expression of ofreclaiming knowledgeare part andforms A rmband S tarting from the 1850s, the use of of use the 1850s, the from tarting (1985) and and (1985) (tinthread) withskinslike sisti Evening Bag Evening (Cold Comrade) in (1985) (1985)

13 1975 of the Lule river dam (first built in in built (first dam river Lule the of 1975 and 1971 between expansion agressive the colonial process across Sápmi. The Sápmi. Dam construction characterised of sides Norwegian and Swedish Finnish, the encompassed also culture Sámi of revitalisation the 1980s and 1970s the during centuries, for region the of length early on. skills these of many learnt Utsi Catarina such as and materials these from forms) so-called traditional, and contemporary (with objects created skilled duojár who a was mother Her tendons. and skin horn, as such for duodji, materials abundant side of Sápmi, where the reindeer provided Swedish the on (Arjeplog) Árjepluovve in family herding areindeer in up grew who practitioner Sámi a is Utsi Catarina Catarina Utsi

I f Nordic colonialism affected the the affected colonialism f Nordic Image (RDM) RiddoDuottarMuseat – (SVD) Vuorká-Dávvirat Sámiid Lender: Dimensions: Year: Materials: Gaeblehkevoesse / Ryggsekk / Catarina Utsi. Rucksack 2002 courtesy The Sámi Collections / Collections Sámi The Sisti 44 x 45 x7.5 x45 44 cm , seal skin, silk skin, , seal : © Catarina Utsi : ©Catarina album titled album an Catarina Utsi released Similarly, diary). his of part as exhibition this in (presented Luleju poem his dedicated Keviselie artist The its inspiration from this tragic experience. Goahtoenan, poems, famous most his of one and evacuees, the amongst was Paulus Utsi, poet the uncle, Catarina Utsi’s homes. submerged be to soon their from families Sámi many of evacuation enforced the in resulted side Swedish the on 1915), and misuse. Sámi duodji traditions from appropriation the protect will which certification duodji anew of introduction the for advocate an is She Sápmi. of side Norwegian the on represents duojárs nationally organisation Samiid Duodji which the leads herder, duojár and reindeer a is She region. Sámi Southern the in Namsskogan, Nord-Trøndelag, in works and lives 1960) Catarina Utsi (b. of duodji. that to similar worldviews many preserve which peoples Indigenous Arctic other Sámi and embraces kindred relations between the skin seal bark. The willow and water with skin, which requires treating the skin modelled from naturally tanned reindeer in contemporary society. continuous relevance of Sámi knowledge the on insist themselves of and in that objects functional creates with duodji, up grew who decades. Utsi, for people Sámi Southern the of traditions and methods Su Suga Suga album, children’s language Sámi the for known also is She songs. her to lyrics as poems DAT, uncle’s her house using publishing Sámi the by Áillohaš and produced (1990),

C atarina Utsi has been practising been practising has Utsi atarina to commemorate the Lule river river Lule the commemorate to Báze Dearvan Goahtoeanan Goahtoeanan Dearvan Báze released in 2001. Rucksack, drew is is 14 their ‘S their expressing to committed were group The infrastructure. artistic Nordic and Norwegian the by recognition enable and long, so for experienced had duodji that stereotyping negative the sideline to order in contemporary as them defined that group) the of name the in and language word new S simultaneously claiming pride in their recognition as contemporary artists, sought move, unprecedented an in who pioneering young S of ageneration by 1978 in formed was Group Artists’ Sámi legendary The KUNSTNERGRUPPE /SAMISK DÁIDDAJOAVKU SÁMI /MÁZEJOAVKU: GROUP ARTISTS’ SÁMI advocating and negotiating S S for recognition of space new been a great source of creative energy in in energy creative of source agreat been S the for activism political of acatalyst and point a meeting 1950). The group’s headquarters became (b. Persen Synnøve and 1953) (b. Persen 1951), (b. Rannveig Marakatt-Labba Britta 1945), (b. Mathisen Ragnar Hans / Keviselie 1948), (b. Hætta Marit Berit 1951), (b. Halse 2012), –d. Josef 1933 (b. Guttormsen Trygve Lund 1943), (b. Gaup Aage of comprised was Group Artists’ Sámi The ahouse. them offered had where the Guovdageaidnu municipality Máze of village small the in base their up set to decided they creation their of year same The arts. the through being and a mi heritage. To this end they invented a invented they To end this heritage. mi a 2018 Oslo BONO, Image courtesy: artists/ ©The Lenders: artists The 1978-83 Year: 17.3 x Dimensions: 21 cm x1.4 Material: Book Loggagirji / Loggbok / Logbook Group. Artists’ Sámi miness’ freely, and to reclaim a reclaim to and freely, miness’ dáidda (adopted into the Sámi Sámi the into (adopted a mi peoples, and has has and peoples, mi a mi practitioners a mi thinking a pmi, by by pmi, the centenary of this meeting. this of centenary the marked 2017 Tråante 6February. on day national Sámi the as annually celebrated is which event, this for gathered Sápmi of 1917. 150 participants from different parts February 6-9 on (Trondheim) Tråante in place took which assembly Sámi first the association from Brurskanken initiated from Helgeland and the Sámi women’s 1931) –d. 1877 (b. Renberg Laula Elsa Residency). as Máze Dáiddasiidii (Indigenous artists’ studios and housing Group Artists’ Sámi legendary the of relaunch the for advocate to order in 2017 in Máze in peers) Sámi (consultations and workshops curated by gatherings two called Norway Art Sámediggi and Office for Contemporary honouring the Tråante 2017 celebrations, in theexhibition. Duringthe course of2017, members its of three of inclusion the with 14 documenta of part as celebrated was 1986. in Centre) Art Contemporary (Sámi Dáiddaguovddáš Sámi the establish to on went which 1979, in founded was that (Sámi Searvi Union)Dáiddačehpiid Artists’ Sámi the of forerunner a was group Máze legendary The 2012. in away passing until house the for care to continuing Máze, in remained Guttormsen Trygve Lund only Sápmi; of parts different in settled and continuedto beactiveartists practitioners, The disbanded. Group Artists’ Sámi the 1983, In 2015. Guovdageaidnu, in house and exhibition) this in included is work the Dáiddadállu group artists’ (whose of founding the for inspirational extent some to also was It since. ever region the The work of the Sámi Artists’ Group Group Artists’ Sámi the of work The 15 collaborator of the company. along-term be to on went Gaup future. the into culture Sámi for anchor further a providing sculptures, Gaup’s as year same the in founded was Beaivváš Theatre National Sámi The culture. adynamic of –acelebration flag Sámi the of colours the in painted is sculptures the of part central The yoik. in common break vocal connection to music, the specifically dimensional surfaces, between two-dimensional and three- the temporality of nature. nature. of temporality the emphasise perishability, in keeping with sculptures and installations often ‘speak’ and inspire. Gaup’s monumental functionality of material; its to capacity inner the with concerned both were they inspiration to him. As followers of duodji, and afriend both was who Jåks, Iver Aage Gaup was in constant dialogue with Aage Gaup

S culpture Iand culpture duoddarat Skalerejuvvon modealla – Min Our moorland stykket, Våre Vidder A BONO, Oslo 2018 Oslo BONO, Image courtesy Museum Lender: 1987 Year: Dimensions: Material: II Skulptur Iog Skulptur / II Bázzi Ija /Bázzi II Sculpture I Aage Gaup. Sculpture Scale model for for model age Gaup. Scale Northern Norwegian Art Art Norwegian Northern Wood and other material / Skalert modell av av modell /Skalert move move II Sculpture 66 x 78 x 273.5 cm x273.5 x78 66 (1981–2018) / (1981–2018) eliciting a eliciting : © Aage Gaup/ and the Sámi territory today. territory Sámi the on still years, those of discussions heated the of reminiscent symbolically is This matches. of composition a in scenography the for idea first his pitched Gaup pasture. to animals the for ground feeding a unique provided moorland the as catastrophic be and on reindeer-herding practices would environment the on effect the region, the would ideally bring economic benefits to community. While the mining companies the on pressure outside of face the in renewal. and focused on cultural revitalisation, growth were artists the years, two previous the in society Sámi on fallen had a darkness though Even booklet). (programme stop” never can they ariver is culture the But dammed. be to going is river The history. is Today, this of all Stilla. in rescuers river the with and valley Čávžu the in itself companies, where the audience sees mining the and herders reindeer the between conflict the stages piece The climax. its reached action Áltá the before time the in set politics, and poetry rock, moorland companies came to the moorland: “Our mining when arose that conflicts the with dealing were Finnmárku in young how of story the tell to songs of anumber wrote They text. accompanying an wrote who Persen, Synnøve and manager, stage as Halse Josef including production, the to contributed Group Artists’ Sámi the from people of Anumber Hjelleset. Sverre and Olsen B. Svein Nedrejord, Halvdan Gaup, A. Áillu Ingor Áilloháš, by Opera aRock of style the in composed was the company’s inauguration. The score Our moorland play theatre Beaivváš first the of scenography the conceived he 1981 In Beaivváš. Theatre National Sámi the of establishment the behind force adriving was Gaup W T he play addresses Sámi civil rights rights civil Sámi addresses play he ithout any preparatory sketches, sketches, preparatory any ithout 2017-2018 OCA, by commissioned Re-make 2018 Oslo BONO, Image courtesy Lender: 1981–2018 Year: (1:25) model Scale cm. 50 x Dimensions: 50 Material: Mixed media is a musical with yoik, humour, humour, yoik, with amusical is The artist The , on the occasion of of occasion the , on : © Aage Gaup/ 16 1997 for burial alongside their bodies. in descendants their to returned were they debate legal of years after –and Somby Ánde and –Niillas ancestors their by back claimed were heads decapitated The Oslo. in Institute Anatomical the at skulls 900 of collection the in held were research, scientific for government Norwegian the by claimed heads, their murder; for 1854 14 October on decapitation by executed Aslaksen and Aslak Jakobsen Hætta, were Mons uprising, the of leaders The life. for imprisioned were many arrested, were protesters the of number large A India). in British the against process decolonisation the of start the of part was which 1855–56 of rebellion Santhal the example for as (such forces colonial and conflictive contact between Indigenous of history global awider of part was in force. The Guovdageaidnu rebellion state assimilation policies were launched Norwegian the on, moment that From authorities against the Sámi peoples. Norwegian the of members some by addressing exploitative methods used confrontation adeadly 1852, November 8 of uprising Sámi first the to referring 8-11-1852 words the Guov’dagæi’dno with 1977 from aposter on appears sketch with various printing techniques. The produced were it of versions multiple aknife; with painted was 1976, dated print, silkscreen this for sketch original The BONO, Oslo 2018 Oslo BONO, Image courtesy (RDM) RiddoDuottarMuseat Sámi – Dáiddamágasiidna Repository/ Art Lender: Sámi Date: x42cm Dimensions: 59 Material: Tempera on paper Opprør A age Gaup. Uprising /Stuibmi 1976 : © Aage Gaup/ , / about Máttaráhkku about speaking when recently said he sculpture”, and durability. contradictory fragility of signs its by attracted stones, away cast resulting the of one obtained Gaup 1970s. the in one reconstructions, this landmark has undergone a number of centuries, the Throughout world. the in to be the northernmost medieval cathedral known is what defines 1300, around time some finished was and 1070 in built be to began which building, The Cathedral. Nidaros the crossed often Gaup Aage Academy, Art the at studies his attending was he when (Trondheim) Tråante in stay While wandering in the city during his (Sámi Searvi Union).Dáiddačehpiid Artists’ Sámiid the of members of consisting Parliament Sámi the by appointed acommittee by made are Aquisitions art and contemporary duodji in existence. largest collection of Sámi contemporary the thus is and works 1,300 approximately of acollection is Repository Art Sámi The complex. RiddoDuottarMuseat the of part now is which Repository), Art (Sámi Dáiddamágasiidna Sámi the by acquired was Group Artists’ Sámi the of member each by Awork Association. Artist Áltá the and Kárášjohka in Collections Sámi the at others, among 1979, of spring the in shown shows group of a number accompany to made Group Artists’ Sámi the that booklet exhibition asmall in found A d ifferent version of the motif is also also is motif the of version ifferent BONO, Oslo 2018 Oslo BONO, Image courtesy (RDM) RiddoDuottarMuseat Sámi – Dáiddamágasiidna Repository/ Art Lender: Sámi 1976–1981 Year: cm x19 x24 Dimensions: 20.5 Material: Soapstone Máttaráhkku / Urhode / Aage Gaup. Ur-head . : © Aage Gaup/ “It’s a broken abroken “It’s 17 board. the on serves currently he where created, was it since School Art Kárášjohka the for worked has and School, Cultural the in involved been also has Gaup (2012). Aage Kárášjohka Culture Municipality Award the received has he and Vølund) of Vølundda play Muitalus the in scenography best year’s the for (2000) Award Hedda the given was he Hætta, Marit Berit with Together others. among (Tromsø) Romsa in Museum Art Norwegian Northern the and Kárášjohka in Collections Sámi the Council, Arts Norwegian the Council, Sámi the by collected are works his and space, public the in artworks Gaup has been commissioned for various designations. grantsartists’ and honorary of anumber awarded been has who Group Artists’ Sámi the of amember and sculptor Aage Gaup people. Indigenous to unique nature and time to work, Urhode the for title Norwegian Gaup’s nature. in things all to applies that time of circularity the and relations, duration, on pun make to seems Gaup Here mythology). Sámi in goddess áttaráhkku Mother Earth the Máttaráhkká, with confused be to (not grandmother M (b. 1943) is a scenographer, ascenographer, is 1943) (b. [Ur-head], denotes a relation arelation denotes [Ur-head], is the Sámi name for for name Sámi the is (the Lay Lay (the subsequent public meeting in Máze. in meeting public subsequent a at plans their present to Administration) Energy and Resources Water Norwegian (the NVE the forced demonstration The communities). Sámi within dissent of form atraditional is (silence first” here were “We proclaiming banner a holding silent demonstration of local inhabitants a by received was 1970, August in Máze committee thatparliamentary visited The news. national into turned quickly this and newspaper, district the through awareness local raised Guttormsen Lund consultation; public any without developed plans dam The explanation. a logical without office agricultural county the by down turned were river the near permits his neighbours’ applications for building of many when 1969, in grew suspicions Guttormsen’s Lund reservoir. a large of limit upper the indicated metres 300 about of line adotted map one on that drinking-water supply scheme, he found a for documentation of search In 1960s. office in Áhkanjárga (Narvik) in the mid- engineer’s aregional visited he when river) (Alta Álttáeatnu the of damming the of accidentally come across the initial plans to person first the was Guttormsen Lund Trygve case, Áltá the during Altaposten newspaper local the of editor former ( Victory?” Whose Norway: of Dam Big Last “The of author Dalland, Øystein to According Trygve Lund Guttormsen uprising of 1852. of uprising Guovdageaidnu the of memory collective the upon rides that Sápmi in consciousness political anew of rise the of speaks (1979), Guttormsen’s painting Evening the background landscape, in Lund against imposing man a Sámi of figure

W ithin this context, the oversized oversized the context, this ithin Guttormsen/BONO, OsloGuttormsen/BONO, 2018 Image courtesy (RDM) RiddoDuottarMuseat Sámi – Dáiddamágasiidna Repository/ Art Lender: Sámi 1979 Year: cm x48.2 Dimensions: 64.2 Material: Linoleum print on paper /Kveld /Eahket Evening Guttormsen. Trygve Lund 1997), and and 1997), Aid, as Dams : © Trygve Lund : ©Trygve Lund 18 Guttormsen/BONO, OsloGuttormsen/BONO, 2018 Image (RDM) RiddoDuottarMuseat Sámi – Dáiddamágasiidna Repository/ Art Lender: Sámi 1993 Year: Dimensions: cm 51 62 x Material: Acrylic painting on paper Samling eller Čoahkkaneapmi /Oppstand / Assembly or Gathering Guttormsen. Trygve Lund OsloGuttormsen/BONO, 2018 Image courtesy (RDM) RiddoDuottarMuseat Sámi – Dáiddamágasiidna Repository/ Art Lender: Sámi 1993 Year: cm x62 Dimensions: 50.5 Material: Acrylic painting on paper plenum første sin dievasčoahkkin vuosttaš /Sámedikki plenary first their holding Parliament Sámi The Guttormsen. Lund Trygve courtesy /Sametinget holder : © Trygve Lund : ©Trygve Lund : © Trygve Lund : ©Trygve Lund years. 20 of total a for municipality Guovdageaidnu the of council municipal the of part formed and educator an as worked He politics. Sámi in positions central held Guttormsen Lund Trygve artist, an as practice his Besides greet the sunrise.” to out is Pedersen Steinar and morning, It’s Karasjok. beyond far meeting first its holds Parliament Sámi “The reads which plenary to achieve real Sámi self-governance. Sámi real achieve to importance of more direct political power the indicates allegedly Guttormsen Lund 1993, in Parliament Norwegian the in signalling Steinar Pedersen’s inclusion By powers. making decision few has and financially directly dependent on Oslo, is which position; advisory an but holds Parliament Sámi new the self-governance, towards agesture marked this Whilst Constitution. Norwegian the in rights Sámi implement to development important an as Parliament in1989Norway was regarded Sámi the of establishment The 1993. in Finnmárku in the Parliament Norwegian of representative adeputy became and 1989, in Parliament Sámi the in career

S T he Sámi Parliament holding their first first their holding Parliament Sámi he teinar Pedersen started his political political his started Pedersen teinar contains an caption important Guttormsen/BONO, OsloGuttormsen/BONO, 2018 Image (RDM) RiddoDuottarMuseat Sámi – Dáiddamágasiidna Repository/ Art Lender: Sámi 1998 Year: Dimensions: 27.5 cm x26.5 paper Material: Linoleum block print on opprettelsen av Sametinget Sámedikki ásaheapmái/ Parliament /Ráhkkaneamen Sámi the of establishment the for preparation The Guttormsen. Trygve Lund courtesy : © Trygve Lund : ©Trygve Lund Forarbeid til Forarbeid til 19 Norway. Norway. across and Áltá in protesters and police the between clash the after years twenty here, anew taken is rights Sámi of recognition eventual The Norwegianisation”. of policy harsh its through people Sámi the against committed injustice the for state the of behalf “on 1997: of apology formal Harald’s the Sámi Parliament of establishment the for preparation The and themes socio-political multiple times. controversy. some of subject the remains decision today, this of generation Sámi young the amongst many For model. a Norwegian replaced being forms traditional to led and debate, the won that latter the was It format. aparliamentary is that state, Norwegian the by recognised was that one was practice in possible model only the whom for those and gathering, Sámi of form traditional the using in believed Opinions were divided amongst those who Sápmi. in debated strongly were – internationally cases similar –and Action and representation gained through the Áltá opportunities for political empowerment new the which during atime at realised their first plenary holding Parliament or Sámi succeed The precede might work The construction. of a of poles coloured Gathering or Assembly L und Guttormsen returns to these legal legal these to returns Guttormsen und . Gathering lávvu (1998) followed King King followed (1998) , depicts the in the process process the in was was Tromsø Museum in 2009. 2009. in Museum Tromsø conjunction with his exhibition at the in Norway, of University Arctic the Professors at Tromsø University Museum, and Terje Brantenberg, Associate Ragazzi Rossella by artist the with 2008 in conducted were interviews of A cycle debater. apublic as and 1963–1983, from the municipal council of Guovdageaidnu on apolitician as 1962-1973, from school Máze the of headmaster and a teacher as also but artist, an as only not work his through ways numerous in society local the to contributed has and 2012, in away passing his until Máze, in live to continued Guttormsen Lund house. Máze the in team existence, they formed the main working group’s the of year first the During 1978. of Aage Gaup relocated there in the autumn and Persen Synnøve artists the when Máze in residing already was He Group. Artists’ Sámi the of amember and artist a visual was (1933–2012) Guttormsen Trygve Lund OCA) and Parliament, Sámi the municipality, the stakeholders, including the Máze citizens, Sápmi various between acollaboration – studios and housing Group Artists’ Sámi legendary the in Máze in Residency Artist’s Indigenous an for project ongoing an is latter the Dáiddasiidii: Máze the to Sámi) in subtitles the commissioned (OCA film

T he museum donated a copy of the the of acopy donated museum he 20 denies the of specificity histories, culture, Finnmárku and Romsa, which, in his view, of counties the of unionisation forced the against protesting is practitioners) cultural of anumber with (together Halse pamphlet, this writing of moment At the Night. Polar long the of end the marks and January late in Sápmi Northern to returns sun The supplies. food and sale pastures and animals are slaughtered for winter their at are herds the which during atime February, of month the to corresponds (winter) Dálvi born. are calves when period the also is It coast. the to Finnmárkkoduottar (Finnmark plateau) the from move herds reindeer the when transhumance, of period the also is Giđđa the season of Giđđadálvi of season the from on follows and April of month the to beginning of Giđđa The calendar. Western the in months two to equivalent approximately time, of perspective cyclical Sámi the in moments areas. Sámi various the in living community each to connected are these and landscape, the of hues chromatic the as well as nature in total. Seasonal rhythms determine changes in seasons eight have Sámi month. the than the non-Indigenous construction of time of markers relevant more are seasons periods echoes this perspective, whereby relationship between lighter and darker The nature. circular and acyclical has life where time of perspective linear The Sámi worldview upholds a non- Josef Halse

I n 1984, Josef Halse addressed two key two addressed Halse Josef n 1984, Image (RDM) RiddoDuottarMuseat Sámi – Dáiddamágasiidna Repository/ Art Lender: Sámi 1984 Year: cm x39 Dimensions: 33 Gouache Materials: Guovvamánnu February / Halse. Josef Image (RDM) RiddoDuottarMuseat Sámi – Dáiddamágasiidna Repository/ Art Lender: Sámi 1984 Year: cm x40 Dimensions: 33 Material: Watercolour and gouache April Josef Halse. April Halse. Josef courtesy courtesy Watercolour and (spring) corresponds /Februar : © Josef Halse : ©Josef Halse : ©Josef (spring-winter). (spring-winter). ŋ /Cuo ománnu / across the seasons in his native Sápmi. native his in seasons the across landscapes the of changes stark the from resulting rhythms chromatic the to homage pay They nature-as-culture. of records are watercolours and paintings based acrylic- Halse’s 1979. in Guovdageaidnu of hometown his to returned he which after Oslo, Industry, Art and Craft of Academy National Norwegian the at studied Halse amusician. and a painter as both active is and Group Artists’ Sámi the of amember was 1951) (b. Halse Josef which are inherently interconnected. of both identity, cultural and livelihood their losing of risk at are people its and Sápmi 1980s, the of beginning the at like today, just how of examples contemporary many of one is This methodology. colonial of example aproblematic is category withinspecificity a wider non-Indigenous rights and peoples. Subsuming Indigenous 21 Scandinavia, Greenland and Oceania. Americas, the over all from coming people participants, including 52 Indigenous 260 gathered Island Vancouver on WCIP the of conference founding The Nations. United the at constituency its of rights the for advocate to qualified 1977, WCIP in (ECOSOC) Council Social and Economic Nations United the within status NGO consultative acquiring After / Canada). Island (Turtle Alberni Port in Reservation Tseshaht the at 1975 October 31 to 27 from a worldly perspective and scope. Indigenous human rights organisation with People (WCIP) – the first transnational pan- Indigenous of Council World the during Indigeneity Sámi of recognition the after years afew made was Glow Sea’s Ice The motor vehicles. by reached easily be not could that areas marshland in necessary process a dry, to back her on hay carrying Ravdna, woman, depicts a Hay of aload with dam. Ravdna the of impact the by threatened be would of traditional seasonal practices that form the in life, of way Sámi the depicting paper on pencil using works of a series produced Hætta 1970s, the of end the At view. in spire church the of top the only leave would level water the in rise expected the plan, this to According river. Áltá legendary the on adam build to decision government’s Norwegian the following inundated be would which village the Máze, in born was Hætta Marit Berit Berit Marit Hætta

T he founding conference took place Hætta/BONO, Oslo 2018 Oslo Hætta/BONO, Marit Image courtesy: ©Berit Lender: artist The 1979/1980 Year: cm x128 Dimensions: 107 Material: Textiles Ishavets Glød /Jietnjameara hiilat Glow Berit Marit Hætta. 2018 Oslo Hætta/BONO, Image (RDM) RiddoDuottarMuseat Sámi – Dáiddamágasiidna Repository/ Art Lender: Sámi 1979 Year: cm 16 x Dimensions: 21 Material: Pencil on paper noaddin /Ravdna med høybør Suov’dne /Ravdna hay of a load with Ravdna Hætta. Marit Berit courtesy : © Berit Marit Marit : ©Berit The Ice Sea’s Sea’s Ice The / Beaivváš. Theatre National Sámi the at Vølund) of Vølundda play Muitalus the for 2000 in design set and costume for award Hedda the awarded was she Gaup, Aage with along and productions theatre Sámi for costumes numerous made has Hætta Oslo. in collections Sámi History’s Cultural of Museum Norwegian the at worked she graduation, 1974. in After completed Industry, Art and Crafts for Academy National Norwegian the at education arts her starting before seamstress a as education aformal received and home at techniques sewing Sámi learnt She 1976. Cousin) Blue the and (Ámmul Ámmul Somby, ja A. alit oarbmælli Marry author Sámi by book children’s Sámi first the is covers book notable most her among and illustrator, established an is She Group. Artists’ Sámi the of a member musician and costume designer, and was Berit Marit Hætta applied to making ribbons in Sámi clothing. usually atechnique using by styles Sámi and Inuit intermixes work the sisterhood, of agesture In night. and day during tonalities colour unexpected with ‘glows’ landscape winter the perspective a Sámi From Inuit. the by as much as world-view, people’s Sámi by disputed strongly is time, the colonial eye, especially during winter to landscape empty amonochrome, be to appear may What North. Circumpolar the of culture Indigenous the in landscape and colour of interrelation the work this in addresses Hætta beadwork. and embroidery with together stitched velvet and fur animal skin, seal from made is and Anorak, called is outerwear The clothing. traditional wearing Greenland, of women The work depicts two Inuit Indigenous of. apart are they peoples Indigenous global of family wider the and peoples Sámi the between fraternity the of speaks Glow Sea’s Ice The In Year: 1980 Year: Material: Hætta. Marit Berit by cover Sameland i ytringsforbud om lenger: ikke tier /Samer Sámis gielddus :sátnefriijavuođa jaska oro šat eai /Sámit Sápmi in expression on ban the on More: No Silent Sámi Gustavsen. John Book, 144 pp. 144 Book, (b. 1948) is an artist, artist, an is 1948) (b. (Trohaug, 1980). Book , Berit Marit Hætta Hætta Marit , Berit , published in (the Lay Lay (the 22 Barents region. He is based in Romsa. in based is He region. Barents the to related issues socio-political and Writers’ Union, specialising in Sámi rights Norwegian North the of member honorary and awriter is 1943) (b. Gustavsen John Synnøve Persen. artist by aflag for aproposal on based was recognition. In particular, Haetta’s drawing achieve to order in employed was culture, Sámi of aspect intrinsic an not while which phenomenon of flag-making at the time, a wider of part forms illustration this in depicted flag The government.” Norwegian the by understood be could which alanguage adopt to forced were we years, those during “though Hætta, says behaviour,” Sámi atypical not is “Marching Sámi people parading with flags. portraying 1979, from Haetta by drawing a on based is Sápmi in expression on ban of cover The Sámi Silent No More: on the the on More: No Silent Sámi Keviselie / Hans Ragnar Mathisen Mathisen/BONO, Oslo 2018 Image courtesy (RDM) RiddoDuottarMuseat Sámi – Dáiddamágasiidna Repository/ Art Lender: Sámi 1978 Year: Dimensions: 114 cm x126 textile collage Material: Paper, cardboard and herlighet verdens forgår Slik nohká máilmmi hearvásvuohta / /Ná Registered Academy as The world). the of glory the passes (Thus Gloria Mundi Transit Sic Dixi Mathisen. Ragnar /Hans Keviselie Mathisen/BONO, Oslo 2018 Image courtesy Lender: artist The 1975 Year: cm x75 Dimensions: 88.5 translucent paper on ink and Material: Pastels samiske stedsnavn / Sápmi dušše sámi báikenamaiguin / names place Sámi only with Sábmi Keviselie / Sábmi (Sameland) med kun kun med (Sameland) Sábmi Hans Ragnar Mathisen. : © Hans Ragnar Ragnar : ©Hans Ragnar : ©Hans

23 Sábmi map, first the completed Keviselie 1975, In multiples. priced reasonably of form the in it, accompanied that distribution mass popular of strategies the given interesting particularly is practice his of aspect This the colonial forces since the 17 the since forces colonial the by removed names place Sámi the region the of cartography the into reintroducing and researching to practice a lifetime’s dedicated has Mathisen) Ragnar Hans as known (also Keviselie mid-1970s, the Afterall journal art respected the by 2017, in commissioned artist the on essay an in explains Stephansen Therese Maria scholar Sámi as culture,” and people also and land, and water of consisting space, territory; it describes the Sámi living a than more “is aconcept as Sápmi Kalstad. ČSV ( ČSV Kalstad. Hætta Klemet Johan scholar Sámi says thereafter,” years some for slogan political Sámi a as existed notion the and Máze, in event political aSámi of course the during 1970, of autumn the in appeared “ČSV others. in insecurity of asense instilling at aimed mostly farewell of aform including intellectuals, among uses various has also it forever, lasts nothing and fleeting is everything that Gloria ( world the of glory Academy, the passes he produced Thus Art Oslo the at astudent as later, years public sphere, as much as to encourage encourage to as much as sphere, public the in ‘Sáminess’ enhance to concepts and symbols Sámi unify to need and Sámi Spirit) a consciousness immortalised ). The title can be read as reminder reminder as read be can title ). The with only Sámi place names place Sámi only with Mathisen/BONO, Oslo 2018 Image courtesy (RDM) RiddoDuottarMuseat Sámi – Dáiddamágasiidna Repository/ Art Lender: Sámi 1974 Year: Dimensions: cm 32 x 32 Material: Woodblock print on paper ČSV Mathisen. Ragnar /Hans Keviselie Čájet Čájet Dixi Sic Transit Mundi Mundi Transit Sic Dixi Sámi Vuoi : © Hans Ragnar Ragnar : ©Hans ŋŋ th century. Show Show a / . A few . Afew . Since . Since Church too close to the state-run alcohol alcohol state-run the to close too Church State Norwegian the considered followers of alcohol consumption. Læstadius’ ban his to due specially Sámis, many by Læstadius’ teachings were highly regarded time. the at communities Sámi among a widespread, destructive phenomenon by Christian missionaries had became TheLæstadius. introduction of alcohol Levi Lars preacher the by led movement areligious of context the in place socially inferior. as treated also were They currency. of terms in than rather livestock other or reindeer of terms in wealth regarded Sámis because settlers Norwegian the by poorer the Sámi were considered economically Norwegian authorities. During this time, the of representatives confronted who people Sámi of agroup by Guovdageaidnu in uprising Sámi the to refers Keviselie titled print emblematic this In logo. ČSV the designed Mathisen that spirit this in was It articles. newspaper and through meetings, conferences, festivals identity acommon of strengthening the and awakening the catalysing at as well as politics, Sámi into youth the drawing at aimed especially was It life. everyday in artefacts and perspectives Sámi of use the The Guovdageaidnu rebellion took BONO, Oslo 2018 Oslo BONO, Hans Ragnar Mathisen/ Image courtesy Lender: artist The 1981 Year: cm 62 x Dimensions: 48.5 on paper Material: Lithography Mathisen. 1852 Ragnar /Hans Keviselie 2018 Oslo BONO, Hans Ragnar Mathisen/ Image courtesy Lender: artist The 1981 Year: cm) 25.5 x 30.5 area: (inside cm 32 x Dimensions: 38 on paper Material: Lithography her... også skjer /Slikt loahpa /Sámesoga happening Ragnar Mathisen. is It /Hans Keviselie 1852 , : © : © 24 and renewable energy resource. friendly environmentally an as promoted “Hydropower has commonly been at Uppsala University, observes: researchers Thunqvist, Eva-Lotta and Öhman (2016), May-Britt Knowledges” Human Security, Emotions and Embodied Safety, Dams, Hydropower on Perspectives Technoscience Nature: of Forces the and Bodies “Human titled atext In action. Áltá the during women of role the highlighting in role important an played she Group; Action Sámi the in others among Sárá Máret by edited was 79 Charta Indigenous peoples around the world. from Case Áltá the for support drawing 1979-1981 including an international issue, years the in made were issues 79 Charta of 1981). Aseries 4-5, (no. publication 79 Charta the of cover the as used also was print The made). was poster this year (the 1981 with 1852 connects colonisation of in language, dispossession and the return between silence and protest. Oppression point fracture the at tower) abell be also customers. 1852 Sámi of exploitation repeated his to due rebellion the of target the became Sámi the to liquor selling merchant A local actions. militant provoking industry, Mathisen/BONO, Oslo 2018 Image courtesy Lender: artist The 1977-1978 Year: cm Dimensions: x10.5 15 Material: Book Dagbok B14 B14 / B14 /Beaivegirji Diary Mathisen. Ragnar /Hans Keviselie depicts a nib (which could could (which anib depicts : © Hans Ragnar Ragnar : ©Hans Kassel during Documenta 14. and Athens in shown was work his and Hungary, Canada, USA, China, and Taiwan Republic, Czech the Estonia, Scandinavia, across exhibitions group and solo through exhibited frequently has Keviselie writing. and cartography illustration, book photography, sculpture, drawing, media, including painting, graphic arts, of avariety across extends It world. the ofconnectivity peoples Indigenous around the as well as autonomy, and expression cultural rights, Sámi of advocacy primarily defined through a determined is practice artistic prolific His 1978. in inception its from Group Artists’ Sámi the of amember was Keviselie 1979. in degree his receiving Oslo, in Arts Fine of Academy National the at studied He Romsa. in works (b.1945) Mathisen Ragnar Hans aka Keviselie Sweden. of nation-state the in herders reindeer Sámi forest-based and nomadic the of most hosted valley river the and salmon, in rich was river the 1970s, the in regulations its finalised state Swedish the Before Sápmi. of side Swedish the on events to response in 1981 in aRiver and Siida Sámi as it published and heated Álttáeatnu river. the landscape, including the biodiversity of the and farming, husbandry, reindeer affected This 1975. to 1971 from river the along downstream plants and dams new with size in expanded was station hydropower The 1915. in inaugurated was Bothnia, of Bay the on Julevädno the of mouth the by Sámi) Lule in (Luleju River failures.” dam hydropower by caused disasters large-scale for risks high the as well as time, along for established well been have inhabitants local its and ecological impacts on the environment and social negative major the this, Despite Keviselie wrote a poem during the the during poem a wrote Keviselie Lule the in plant power first the Porjus, is a visual artist who lives and and lives who artist avisual is (Áltá BONO, Oslo 2018 Oslo BONO, Hans Ragnar Mathisen/ Image courtesy Lender: artist The 1978 Year: x22.5 Dimensions: 35 on paper Material: Lithography Båt / /Fanas Mathisen. Boat Ragnar /Hans Keviselie Luleju, The Story of a of Story The Luleju, river) debates, debates, river) : © 25 as political struggle and confrontation. well as sayings, and tales fairy mythology, lifestyles, spiritual perspectives and nature, intertwine that events, everyday and historic both through worldview Sámi a assert They people. Sámi the of defence political and impassioned an as stand 1970s the since produced has she that numerous embroideries and other works The future. its guide to which with history, an understanding of Sámi culture and provides she of part is she world the of image an conveying By culture. Sámi the colonial prejudices constructed against of rejection artist’s the highlight to used are and life, Marakatt-Labba’s throughout thread acommon constitute textiles duodji, with up Growing time. any at place any production her continuing mobile be to her allows heritage, Sámi her to inherent embroidered images. This technique, one of storytelling through finely hand- fundamentally is practice Her Sápmi. of side Swedish the on Sameby, Saarivuoma nine children in a reindeer herding family in of one as up grew Marakatt-Labba Britta Britta Marakatt-Labba In Nightmare In era. post-war the in witnessed Norway in deployment police largest the action, Áltá the during later, and II, War World of end the at region Finnmárku whole the of evacuation consequent the and land-scorching the included latter the Sápmi: across militarisation of waves extended of context the in made were B oth oth Labba/BONO, OsloLabba/BONO, 2018 Marakatt- Image courtesy: ©Britta Enköping Bålsta Lender: Arbetsförmedlingen 1985 Year: cm x38 Dimensions: 54 fabric linen on Material: embroidery Wool nåjder Shamans Marakatt-Labba. FlyingBritta OsloLabba/BONO, 2018 Marakatt- Image courtesy: ©Britta Lender: Region Gälveborg 1986 Year: cm x70 Dimensions: 55 fabric linen on Material: embroidery Wool Deattán / Mardröm Marakatt-Labba. Nightmare Britta Flying Shamans , Marakatt-Labba portrays portrays , Marakatt-Labba /Girdinoaiddit and and Nightmare Flygande /Flygande / nature. mining exploitation and industrialisation of massive the to linked environment the and climate in changes of consequences the by menaced be to first the are globally) peoples Indigenous (and Sámi that given today, threat under is system belief Sámi entire the that observed artist the 2017), 7December on OCA at (held lecture Award Savio John Marakatt-Labba’s During present. and past the during beliefs Sámi and resources Sámi of ransacking the for lávvu the of desecration practices. Nightmare specially demarcated area for spiritual –a eating and sleeping for areas defined –with quarter aliving just missionary crusades’ ofmissionary the 18 throughout the christianising ‘Nordic Noaidis’ practices were repressed celestial, the human and the underworld. the of composed structure a tripartite is cosmology Sámi which in world other the of forces the and humans between Sámi’s defence. Noaidis are intermediaries shaman) noaidi (or The livelihood. and communities police-enforced displacement of Sámi a enlarged human figure of extreme strength aslightly as forms, distinct two in exists which creature a supernatural – ‘Stallo’ the about stories Sámi mythological the by inspired was theatre puppet The 1978. in Gothenburg in Crafts and Design of School the at project graduation her for work this made Marakatt-Labba community order. the of defender sole the and guardian the Flying Shamans lávvu F lying Shamans under attack. Much more than than more Much attack. under Labba/BONO, OsloLabba/BONO, 2018 Marakatt- Image courtesy: ©Britta Lender: artist The 1978 Year: cm x100 x 180 Dimensions: 100 Material: Mixed media systrarna tre dom och /Stallo oappáža golbma ja Stállu / sisters three the and Marakatt-Labba. Stallo Britta is depicted here as coming to the the to coming as here depicted , is , the noaidi re-emerges as as re-emerges noaidi , the comments upon the portrays the mass mass the portrays as a metaphor ametaphor as lávvu th century. In In century. has a has 26 Ö Sohppar/ Bajit in works and lives She 2010. (Embroidered Stories), was published in major monograph, Broderade berättelser The Kassel. and Athens in both presented works other amongst 14, Documenta recent the of piece acentre was latter The people. Sámi the of cosmology and history the narrate that Tapestries Bayeaux the by inspired tapestry a 24-metre theembroidery; epic work History is medium central Her works. 100 over included 2008, in Bildmuseet the at ‘Cosmos’, retrospective major Her widely, nationally and internationally. exhibited has She 1979. in Group, Artists’ Sámi the collective, artist influential the of amember became Marakatt-Labba 1978. in Art Textile in Degree Bachelor’s a receiving Gothenburg, of University the at Crafts and Design of School the at and Folkhögskola Sunderby the at art studied then and herders reindeer of afamily in up grew She Sápmi. of side Swedish the Ö in living artist avisual is Lávnnjitvuomi) Davvavuomi, Lavkooaivvi, 1951, (b. Marakatt-Labba Britta forbidden in their generation. been had which change for desire a and empowerment of asense people young in children about decolonisation, and to instil to atale tell to together came Labba Marakatt- Britta and books, children’s many of author Somby, A. Marry captivity. from escape and him fool to manage eventually they but children, the kidnaps from an inferiority complex. The Stallo suffering Stallo small a with Tuddi, and Jurri Mádde, girls, three of encounter the portrays story Her Sisters. Three the and Stallo Little play Somby’s A. Marry featuring Sápmi of whole the around live toured was theatre puppet The enemies. his kill or hurt to noaidi the by forth called force a as or children, stealing for known vre Soppero, Sápmi/Northern Sweden. vre Soppero, on on Soppero, vre is is river. In In river. Áltá the in plant power hydroelectric the of construction the to responses direct both are fields and rivers our Protect and Sámi we and Honour, and Power on. 1970s the from children for books Sámi of anumber on illustrator an as worked Persen Rannveig educator, and artist an As Rannveig Persen among Indigenous peoples. and sovereignty, essential for survival interconnection between language, nature including language. It adresses the deep nature, in elements given the all between visualises a continuity fields and rivers our language. The phrase Protect Sámi the of censorship the and policy Norwegianisation the of violence the on achieved. be ever can society across conciliation whether questions work The as devilish by missionaries. Norwegian (women’s headpiece) – infamously banned nissongahpir the and hat) corners four (the čiehgahpir –the hats two are peoples Sámi the of left trace only The deserted. as Parliament the of front in square the presents she protests, the showing of Instead livelihood. people’s Sámi the and policies government’s national the Persen highlights the distance between takes fields and rivers our Protect Power and Honour, and we Sámi we and Honour, and Power Rannveig Persen Rannveig Image courtesy Lender: artist The 1979 Year: Dimensions: 30 x39cm block print on paper Material: Linoleum marker og elver våre Vern jogaid ja eatnamiid. fields and rivers our Protect Persen. Rannveig Persen Rannveig Image courtesy Lender: artist The 1978 Year: cm Dimensions: x30 25 block print on paper Material: Linoleum Samene Vi og Æren og /Makten Sábmelažžat Mii Ja Gud’nl Ja /Fábmo Sámi we and Honour, and Power Persen. Rannveig /Suodjal min : © : © , 27 collage. digital recently, more and illustrations to media, ranging from linoleum block prints various with worked have to known is She group. the join to Synnøve, sister, her with Máze to relocated she Industry, Art and Crafts of Academy National Norwegian the at studies her finishing After Group. Artists’ Sámi the of amember was and artist avisual is 1953) (b. Persen Rannveig and other related initiatives. Norway) of Parliament Sámi (the Sámediggi the of creation the with 1980s the in Norwegianisation policy was discontinued The population. Norwegian the and Sámi religious/spiritual between differences by also and nationalism Norwegian by motivated were laws The land. purchase to speakers Sámi of rights the restricting prohibiting schooling in Sámi, and passed were Laws 1800s. late the in policy government official as formalised 1700s, the of programs missionary the in roots its finds This population. uniform aculturally into minorities ethnic and communitiesspeaking Indigenous non-Norwegian assimilate to Norway, of Kven people the later and Sámi, the at directed government Norwegian the by out carried policy official an was The process of Norwegianisation Norwegianisation of process The Spirit) movement of ‘Sámification’, ‘Sámification’, of movement Spirit) ( ČSV growing the of part was development This devastating of effects Norwegianisation. the to up stand to abid in emerge to began flags 1960s the from yet and culture, Sámi of part inherent an not was making Flag- flag. aSámi portraying artwork an developed she 1977 in where Oslo, in Norwegianisation policy instilled. the that Sámi being at shame of sense traumatic the was this to her. Added from far pushed were home and culture, language, her as loss of –asense peoples Sámi other of thousands –like experienced she process this In schools. boarding run state- in policy assimilation Norwegian the by educated fully be to Sámi of generation first the to belonged Persen Synnøve Synnøve Persen Persen attended the Academy Art Čájet Čájet Sámi Vuoi Lender: artist The Date: Dimensions: 13 9cm x original print of Material: Photograph Lind Victor og Persen Synnøve av Foto / govva Linda Victor ja Persena / Synnøve Lind Victor and Persen Synnøve of Photo Jan-Erik Stensgård. Oslo 2018 Synnøve Persen/BONO, Image courtesy: Lender: artist The 1977 Year: cm x92 Dimensions: 67 print on paper Material: Silkscreen Sameland for samene / sámiide Sámieana / Sámi for Sámiland Persen. Synnøve Oslo 2018 Synnøve Persen/BONO, Image courtesy: Lender: artist The 1977 Year: cm x73.5 Dimensions: 62 print on paper Material: Silkscreen flagg Samisk / /Sámeleavga flag Sámi Persen. Synnøve ŋŋ a 1977 / Show Sámi Sámi Show © © 28 as part of Documenta 14. Documenta of part as Kassel and Athens in shown was work Her Kárášjohka. in Art Contemporary for Centre Sámi the establishing and Union Artists’ Sámi the developing in both artists, Sámi Persen has been an important organiser of outside the parliament in Norwegian Oslo. participating in the 1979 hunger strike Case, Áltá the in figure aleading was She rights. Sámi of defence the in figure political aconsistent been also has She Kunstforening. Tromsø at 1983 in place took first her while 2016, in Kunstgalleri Zetterquist Adde the at was exhibition collaborations. Her most recent solo musical and readings in poetry her poetry collections and has performed several published has Persen Synnøve artists. Sámi of work the of standing the empower to sought that collective artists’ an Group, Artists’ Sámi influential the of founders the of one was and Oslo, Arts, Fine of Academy National the at painting studied She Sápmi. of side Norwegian the on Bevkop in living poet, and artist Synnøve Persen Sámiofficial flag. the became then that adesign, with acompetition won Båhl Astrid 1986, In Stueng. Marit of initiative the at 1962 in Kárásjohka in used was pattern A similar statements.” political make to banners some in used even was design The time. the design used in different pulpits at the Buolbm from g the of sleeve the of end magnified a be could It see. to all for there were itself wasn’t original […] the inspirations context. awider within exists flag Persen’s traversed. it nation-states the and Sápmi across identity Sámi of sense agrowing of elements symbolic as power whereby duodji and specific colours gained A s Ánde Somby observes, “The pattern pattern “The observes, Somby s Ánde a t a (b. 1950) is a visual avisual is 1950) (b. nd V nd a r jjat. It could be be could It jjat. a k tis tis of violence between protesters and the moments the on exclusively focusing time, the at protest the document to papers major by sent were reporters newspaper photographer and supporter. A number of a as Waterway Áltá-Guovdageaidnu the of Building the Against Action People’s the joined and 1978 in post his from resigned he Consequently, territory. the in found be to conflicts existing the of aware became quickly he resources, land and water on decision-making involving tasks with and of importance to Sámi reindeer herders and building agency. Working on areas planning regional the by employed 1970s, early the in Vadsø to moved first Sveen Trained originally as an architect, Arvid Arvid Sveen BONO, Oslo 2018 Oslo BONO, Image Lender Year Dimensions Material Stilla-marsserien /Muoraid gilvimin, Savu series March Stilla The Sveen. Arvid 2018 Oslo BONO, Image Lender Year Dimensions print Material Planting av trær, Stilla / Stilla Trees, of Planting Sveen. Arvid 2018 Oslo BONO, Image Lender Year Dimensions print Material Čávžu-ráidu / Sautso-serien / series Cavčo Sveen. Arvid 2018 Oslo BONO, Image Lender Year Dimensions print Material Detsika-leaira / Detsika-leiren / camp Detsika Sveen. Arvid : 1980 : 1979 : 1979 : 1979 courtesy courtesy courtesy courtesy Muoraid gilvimin, Savu : The artist : The artist : The artist : The artist : The : Colour diapositives : Original photographic : Original photographic : Original photographic : 42 x 35 mm 35 : 42 x cm : 13 x18 cm : 13 x18 cm : 13 x18 : © Arvid Sveen/ : ©Arvid Sveen/ : ©Arvid Sveen/ : ©Arvid Sveen/ : ©Arvid / / 29 dam. Virdnejávri mtall a145 with canyon, the of top the at sits now 1987 in completed was which station power hydroelectric Áltá The Europe. Northern in canyon largest the is It river. Áltá the by carved valley the Canyon, construction. under still road anew of end the at trees planted action Áltá the of members the aroad) of construction the (including area the in plans development the over disagreement express to gesture a poetic as Conceived 1979. July in – started initially construction the –where camp Stilla the to camp Detsika the from mountain Trees (Stilla) gatherings. political and cultural for centres as served which camps, Stilla and Detsika of photographed the structural organisation also He them. between fraternity the documenting and action, the led that camps two the in time spending site, the on allies non-Sámi community’s Sámi the of part however, became Sveen, police. Čávžu (Cavco/Sautso) refers to the Áltá Áltá the to refers (Cavco/Sautso) Čávžu of The photographic series Planting BONO, Oslo 2018 Oslo BONO, Image courtesy: Lender: 1972 Year: Dimensions: Material: Dáruiduhttin Norwegianisation Sveen. Arvid 2018 Oslo BONO, Image Lender: artist The 1981 Year: cm x46 Dimensions: 64 Material: print Offset / Luovvaneapmi Arvid Sveen , captures a walk over the the over awalk , captures courtesy Odd Mathis Hætta Mathis Odd Pen on paper . Emancipation /Fornorskning 14 x 19,3 cm 14 x19,3 Frigjøring Frigjøring : © Arvid Sveen/ : ©Arvid © Arvid Sveen/ ©Arvid /

/ Indigenous PeoplesIndigenous ( of Council World the with alliance new the referencing perspective aglobal into reinserted is rights Sámi for struggle the ( flag Sámi emerging the into blended is flag Norwegian the of colour the years, these during identity print. to went poster final the before feedback their receive to order –in instance for Jåks Iver to sketches his submit often would –and artists Sámi renowned of advice the sought therefore He sovereignty. for struggle their in peoples Sámi the uniting powerful communication platforms in as serve would that posters creating in of therespectful he responsibility carried was Sveen person, non-Sámi a As future for Sámi liberation and autonomy. adifferent for possibility the to alludes he all us take they fish, the take they If as such titles bold With time. the of concerns Indigenous brought together the environmental and through poster-making. His practice damming the Álttaeatnu, especially of consequences the of awareness tocommissions campaigning raise on prolifically worked Sveen Arvid As colours were the new signs of of signs new the were colours As , Sámi future Oslo 2018 Arvid Sveen/BONO, Image Lender: artist The 1979 Year: 46cm x 64 Dimensions on paper Material: Linoleum print alle oss dæm tar fisken, min buohkaid / / Jos guoli váldet, váldet all us take they fish, the take they If Sveen. Arvid Oslo 2018 Arvid Sveen/BONO, Image Lender: artist The 1980 Year: cm 59,5 Dimensions: x 82 on paper Material: Gouache framtid boahtteáigi future Sámi Sveen. Arvid Emancipation Sámi Future , and , and Sámi /Sámi courtesy courtesy Emancipation Samisk /Samisk ). Tar dæm Tar dæm ), and ), and : © : © , 30 television and published many books. many published and television for programmes made has he practice, Trondheim in 1970. Alongside his artistic in University NTH at degree his completed and architect an as trained Sveen and county coats of arms were accepted. municipal Norwegian for drawings his of (youth group) 75 group) (youth Ungdomslag’s Norway the for poster and logo the made also he and 1984, of group) banner of Finnmark Ungdomslag (youth the drew He career. his of beginning the since active politically been has He 1944. in Ringsaker of municipality the in born was He designer. graphic and photographer artist, an is Sveen Arvid th anniversary in 1971. 49 49 1971. in anniversary derives from a sub-committee in Oslo. in asub-committee from derives archive the in material the of Some more. material, newspaper cuttings and much financial accounts, photographs, printed declarations of support, reports, maps, documents about the organisation, contains and information, of source great a is archive The contents. its administering for responsibility over taking thereby Áltá, in office head movement’s the of archives the given was Museum Áltá The 1993, In SYSTEM WATER ÁLTÁ-GUOVDAGEAIDNU THE OF MOVEMENT AGAINST THE DAMMING PROTEST THE OF ARCHIVES THE 31 of the country. country. the of Eastern part the South in area, Norway’s of 13% covers that basin adrainage has Norway, whose 621-kilometre-long span in river largest and longest the Glomma, into flows Holsbekken, creek, The time. real in the video creek interfere with the from water the in activity of Signals Oslo. in OCA at exhibition the during viewed video from Holsbekken is continuously Asurveillance yeast. with mixed house, eponymous stream running beside their the from composed of water is OCA at performative walk. The installation piece parts: a sculptural installation and a and forests. fields by surrounded area an Oslo, east of county, south- Østfold the in Skiptvet, to Jørgensen relocated and Holm ago years few implicated. A are nature and humans ecological realities in which societies, of aesthetic understanding abroad in architecture on as well as knowledge, of exchange the on focuses and nature, of ongoing project questions the exploitation This county. Nordland the in 2003, in land Gildeskål-based School / Sørfinnset nord the initiated they Thailand from artists other art. With presenting and doing of ways alternative find to space, exhibition an as apartment their using Balkong, started they In 1993 art. contemporary mediating, writing and teaching about Jørgensen’s practice focuses on Søssa and Tore Holm work, Geir based sculpture, sound and performance photography, video, their to Parallel Jørgensen Søssa and Tore Holm Geir Skiptvet Holsbekken (RGB) Commissioned by OCA, 2018 OCA, by Commissioned Date: Dimensions: Dimensions variable Material: Multimedia installation Jørgensen. Holsbekken (RGB) Søssa and Tore Holm Geir 2018 consists of two two of consists speculations. expectations and language, facts, stories, with focuson Holsbekken Creek, alongside performative walk invited tojoina W audience are alk: May12 OCA Gallery event will take place on on place take will event offsite subject. This the on speculations facts, stories, languages, expectations and focusing on issues fluvial of a number creek. The walk includes discussions about Holsbekken the alongside awalk as work, second and complementary part of their regulated for hydropower production. hydropower for regulated are rivers largest Norway’s of cent per 70 than More regulations. hydropower by affected been have these of number a though waterfalls, highest 35 world’s the of ten has Norway times. all at and country the of parts all almost in purposes for domestic, agricultural and industrial used is which water of abundance an is is the highest. There density population the where are the poorest conditions and the environmental variations, countries, there are wide regional better compared to other European are lakes and rivers Norwegian the in details. for OCA’s website check Holm and Jørgensen will present the the present Jørgensen will and Holm Though environmental conditions 12 May 12 . Please . Please 32 and has also curated various exhibitions. exhibitions. various curated also has and sculpture, and performance installation, photography, video, as such media with works Holm Jørgensen. Søssa partner long-term his with Østfold Skiptvet, in Ringstad, farm, the from worked and lived has he 2010, Since Romsa. in Writing Creative and Art Contemporary of Academy the of establishment the for project the of head the was Holm 2006–2007, In Crafts. and Arts of department the at Aesthetics’ Changing research project titled ‘Poetics for artistic an with Arts, the of Academy National Oslo at fellow aresearch was He artist. an is 1966) (b. Tore Holm Geir debated and taught contemporary art. exhibited, have they which in projects anumber on Tore Holm Geir partner, long-term her with works she installation, of performance, sound/recording and her individual practice within the fields Alongside Ås. (UMB), Sciences Life of University Norwegian the at Architecture currently completing an MA in Landscape artist, an is 1968) (b. Jørgensen Søssa Parliament in Norway in 1989. in Norway in Parliament Sámi the of establishment the catalysed office Minister’s Prime the of occupation the period, this during actions protest other with Together 1981. 6February on Brundtland Harlem Gro Minister Prime of office the occupied who women Sámi 15 the to attention central giving Action, Áltá the in participated who inhabitants Máze meets Mai-Lis Parliament. Norwegian the of front in stood Sámis young seven hunger strike demonstration in Oslo where 1979 the around video a and soundscape a recreates Márjá Elle discussions. those in part active an took families Their it. of heart the at town small the and Action Áltá the of stories the with up growing Máze, in born were director, afilm Mai-Lis, and director, amusician/film Márjá, Elle Both Eira. Mai-Lis and Márjá Elle between Me With Fuck Don’t Márjá Eira Elle and Eira /Mai-Lis Guovdageaidnu Dáidadállu | Artist Collective – Commissioned by OCA, 2018 OCA, by Commissioned Year Material meg med kødd Ikke / muinna dájo Ale / Me With Fuck Don’t Eira. Márjá Elle and Eira Mai-Lis : 2018 : digital film is a cooperation 33 short-film, the of director the also is Eira Márjá Elle forthcoming. is album debut Her places. Guatemala and Germany among other Brazil, in internationally, performed has she band her With life. of way Sámi the about stories share to astage as music uses and Sápmi, in Guovdageaidnu in family herding areindeer in up grew She vocals. incorporates yoik and Sámi language musician known for electronic music which and artist an is 1983) (b. Eira Márjá Elle Russia. Programme from Character Northern in Youth Best of prize the received she which for NRK for adults young and children for documentary aTV produced has and and Brother) Year’s Last Not Year is (This viellja jagi leat ii Jahki films short the of director the is She state. Norwegian the against case court Sara’s Ánte Jovvset herder reindeer of around events artistic and legal the documents that film forthcoming a of director as collective) Dáidaddállu the of co-member Sara, Ánne Máret artist project o’Sápmi Pile the in involved is She perspective. aSámi from to problematise contemporary events storytelling and film uses who director film aSámi is 1991) (b. Eira Mai-Lis Iđitsilba (The Tourists), Tourists), (The Turistene , released in 2015. in , released (founded by by (founded Guovdageaidnu / Susanne Hætta Dáidadállu | Artist Collective – photograph. to started and cameras father’s my up Itook home. our in had we paintings the of line every studied I eyes young With exhibitions. art to me took mother My me. of asketch drew artist An art. the also But news. television the on policemen those by away dragged people Sámi father, my with lavvos smoke-filled in sitting me policemen, of hundreds snow, the in up chained people of memories Vague awitness. Iwas then, “Back I was again a witness of history.” of awitness again I was capsule. time the Ientered opportunity, the given Iwas When childhood. my in point some at parents my with there been probably Ihad that feeling years, for building the to drawn been Ihad here. from work to chose Group Artists’ Sámi the loved, and lived struggled, river, the in fish caught valleys, these in hunted that ancestors our Like respected. be to need the beyond demands, political the beyond word, spoken the beyond expression for urge atimeless define; to hard something of Echoes echoes. were there But abandoned. seemed and messy was It then. back in worked they where building the into Iwalked gaze, my of extension an as camera 2017, In the with 1970s. late the in movement Sámi the of apart to me. to clear became this later, years Many people. Sámi the us, to happening was what witness to and understand to wanted see, to wanted

T A he Sámi Artists’ Group was central central was Group Artists’ Sámi he nd I, too young to understand, understand, to young too I, nd Year mm Dimensions: 42 x35 transferred to colour diapositives Material: Masi /Åse Máze Oaidnit / Máze Susanne Hætta. Seeing : 2017/2018 Digital photography 34 member of the Sámi Artists’ Group. Artists’ Sámi the of member a was who Persen Synnøve activist, and poet artist, Sámi the about abook is publications forthcoming her Among 2000. in Anne) of Life the in Day Ánniin (One language children’s beaivi book, Okta Life Criminal of Way Out –The including Utsi books multiple authored has she and Oslo, in and Sápmi of parts different in shows of anumber in exhibited been has work Her the Sámi collective artists’ Dáiddadállu. of amember is She Čáhcesuolu (Vadsø). in based author and artist photographer, aSámi is 1975) (b. Hætta Susanne (2015) and the Northern Sámi- Northern the and (2015) Guovdageaidnu / Máret Ánne Sara Dáidadállu | Artist Collective – 18 the Americancontinentduring mid- of theecocidalstrategies ofsettlers across of Bones Ánne Sara found titled ontheInternet land, Turtle Island(Canada)that Máret historic photo taken in Regina, onMétis ultimately hisinherited rights. to abandon hisway oflife, hisculture and Sara’s inevitable bankruptcy andforces him claims thattheenforced state rulingcauses and theMinistry ofAgriculture andFood, legal struggle between Jovsset Ánte Sara herd. Oneofdozens ofsimilarcases, the would beforced to slaughter halfofhis Finnmárku, whereby Jovsset Ánte Sara the imposedslaughtering of reindeer in to broadly anotherwise ignored case– Jovsset Ánte Sara, bringingwide attention the trialofherreindeer herding brother, a Norwegian flag. killed reindeer skulls,andcrowned –with of protest-sculpture by pilingup200freshly Norway) in2016. Here sheinstalled aform in Deatnu,Sápmi (Tana, Court District appeared outside theIndre Finnmárku the trialofmy brother.” little Itfirst extended movement artistic accompanying o’Sápmi andan as“an started artpiece According to Máret ÁnneSara, roamed freely upontheGreat Plainssince of millionsbison thathad,untilthen, th century. Thenearextermination oftens Pile o’Sápmi is directly inspired by a Lender: Date: cm. x20 115 30 x total: each, x2cm 2.5 5x parts, Dimensions: dahje: fápmočehporas Power Necklace o’Sápmi Pile Sara. Ánne Máret . Theimageserved asadocument 2017 The artist The Pile o’Sápmi follows Approximately 200 Pile o’Sápmi o’Sápmi /Pile Pile Pile 35 Guovdageaidnu. in works and 2017. lives She Kassel Galerie, Neue Neue the at 14 exhibition Documenta the of part as others, amongst showcased, Pile o’Sápmi project ongoing Sara’s Guovdageaidnu. Collective Artists’ Dáiddadállu the of members founding the of one is She 2014. in Prize Literature Council’s Children’s and Young People’s Nordic the for nominated 2013), was book first Her novelist. published and journalist editor, an is she Furthermore, 2003. since arts visual of field the in exhibited has artists, designers and institutions and and fabric prints for numerous Sámi visuals scene covers, CD/LP posters, created has Sara communities. herding reindeer their and peoples Sámi the political and social issues affecting with deals work whose artist an is Norway) Sápmi/Northern Hammerfest, Máret Ánne Sara (b. 1983, Hámmárfeasta/ colonial power. of settler-perhaps oranarrogant assertion leaders, aregal ofprotest adornment necklace would seemto befitgovernmental reindeer bones.Thegrandeurofthe of reindeer skulls,madefrom powdered Sara commissioned aporcelain necklace European families. Mirroring thisprocess, overseas to produce fineporcelain soldto coarsely ground into fertilizer, orshipped America,bisonboneswereIn North reference to thebrutalityofcolonisation. upon bisonfor theirlivelihood. exterminate theFirst Nationsthatdepended strategysettler ofgenocideseekingto the last IceAge, was intended asacolonial/

P ower makes Necklace adirect Ilmmiid gaskkas (In Between Worlds, Worlds, Between (In was was Tanya Busse and Joar Nango communities. create to has still it power the examines mobilise larger social transformations and to politically used been has matter printed how at look to is aim artists’ The culture. outside of mainstream institutions and happened have that dissent and subversion of histories animating of away also is It Europe, both historical and contemporary. Northern of Arctic Circumpolar the in movements social and production cultural project addresses the relationship between The Russia. and Sápmi Europe, Northern region: Barents the in initiatives publishing Nango’s focus on counter-cultural et manifest of are-issue with begins which project, ongoing an is and years many over gathered been have that materials printed The Nomadic Library

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36 of Sámi architects across Sápmi. across architects Sámi of anetwork up setting in involved currently (2014). is He Vancouver in Front Western at and (2013) Ottawa SAW in Gallery at (2008), Halifax in Gallery Deluxe Gallery the and (2007) Gallery Gallon 161 the at Canada, in exhibited has He contexts. works with temporary installations in urban which FFB, collective architecture the of Language the & mixtape/clothing project Land Sámi Shelters the entitled Sámi Huksendáidda: the Fanzine series zine aself-published things, other amongst through, Space Sámi Modern the of theme the on worked recently contemporary architecture. He has in contradictions and oppositions the identity, often through investigating Indigenous of questions to relates work his speaking, Thematically art. visual and between architecture,boundary design the explore which publications, self-made works with site-specific installations and He artist. apractising and Norway, in NTNU the from adegree with architect aSámi is Romsa in works and lives Norway, Northern Joar Nango Books. Mondo and (Romsa Projects Small of co-director the is Busse venues. other (2012) among Norway Oslo, in UKS (2013); and Finland Turku, in (2013); Turku Biennial Canada Toronto, in Photography Contemporary for Center 44: Gallery at exhibited has power. She of systems broader to and architecture visibility in relation to deep-time, invisible of questions explores practice Busse’s primarily with print and installation, Working Halifax. in Design and Art of College Scotia Nova the from BFA a and Tromsø, in Art Contemporary of Academy fromCapitalism, and Art Sustainability the in MA an holds Romsa in works and lives she Moncton, in 1982 (b. Tanya Busse . He is also a founding member member afounding also is . He (b. 1979, Áltá [Alta], Sápmi/ [Alta], Áltá 1979, (b. design project and , Dušše of completion the until Sápmi, land, his of soundscapes the capture to nature in recordings field with work to continued He 1970s. mid the as early as – own his and –archival field-recordings recording technology, and incorporated sound state-of-the-art by fascinated was He homeland. his of cycles natural the of part being and to listening lifetime his spent Valkepää /Nils-Aslak Áillohaš creation. its of process the upon ( celebrated Goase Dušše – Loddesinfoniija Áillohaš’s to deep-listening from results which Vister, Øyen Már Elin composer and artist Norwegian by work anew is revisited Dušše –Goase rocks the with talking – swans whooper to along Singing Vister Øyen Már Elin of his time and more relevant than ever.” than relevant more and time his of ahead crisis, ecological global of era an in today, is still and was It (Áilu-loddemánná). dying” is “nature that warning a and life, of sounds the to listen to call a is piece today. Øyen Vister comments, “Áillohaš’s relevance of its environmental messages the accentuate which quality, a timeless of sounds The Landström. Åke Sven and Bresky) (later Gustafsson Gunilla by produced was work The Brodin. Mikal technician sound Swedish the with together Sápmi, of side Finnish the on (Pätikkä), Beattet in cottage Áillohaš’s in mixed was and Sápmi of recordings registered in different parts field of amultitude from composed was one-hour-long symphony of nature, This 1992. October 22nd on Corporation Broadcasting Swedish on premiered It Corporation (Sveriges Broadcasting Radio). Group/Swedish Drama Music the from The Bird Symphony Bird The The Bird Symphony Bird The musician and artist Sámi renowned The . Commissioned by OCA, 2018 OCA, by Commissioned 2018 Year: Goase Dušše to listening deep a with walk forest Material Dušše Goase med gjennhør et – steiner med snakke sangsvaner, med /Synge –skerrui Dušše geđggiiguin, ruovttoluotta Goase –hupmamin njuvččaiguin Lávlumin / revisited Dušše –Goase rocks the with –talking swans whooper to along Singing Vister. Øyen Már Elin The Bird Symphony Bird The : Audio, text and sensory sensory and text : Audio, , 1992), and reflects reflects and , 1992), was a commission acommission was Goase Goase have have

37 Sápmi / Northern Norway). /Northern Sápmi Nordland, Røst, Skomvær, of island tiny the on situated is AIR Røst 2012, in Founded thinking and Indigenous perspectives. the inter-relatedness of ecology, queer well as communal workshops exploring an residency artists’ interdisciplinary as running group, working AIR Røst of part global environmental crisis. They are also ongoing the of aresult as archipelago, Røst the of soundscapes cultural and natural changing rapidly the documents and projects, Røst, Soundscape investigates ongoing their of One interventions. soundtrack and site-specific sound sculpture, live improvisation, radio, film installation, composition, performance, recording, field with works Vister Øyen world. the experiencing and sensing composing, of away and practice artistic an as listening with concerned is work audio background, their multidisciplinary an from Coming DJ. and composer artist, asound is 1976) (b. Vister Øyen Már Elin OCA’s website for details. session to Goase Dušše. Oslo, which culminates in a deep-listening of north-east forest, Lillomarka into walk May 5 On exhibition). the of entrance the at kit alistening collect (please venue exhibition the past running river local the Akerselva, walkingDušše, or sitting alongside Goase to listen you recommends artist The abooklet. and head-set iPod, an of Goase Dušše Øyen Vister’s piece re-presents Áillohaš’s , the artist will lead a sensory asensory lead will artist , the as a listening kit, consisting consisting kit, listening a as Please check Jimmie Durham action against the Norwegian government. government. Norwegian the against action following years he came across the Áltá the over that position this through was It Durham. Jimmie by headed was team staff small the and UN, the from street the across right York, New in was office Its community. international the to issues treaty their present to and form) different a today, in continues that (a task world the around all from peoples Indigenous connect to amission on embarked Council) Treaty Indian (International 1974 IITC In the longstanding. been has Sápmi to connection Durham’s building with branches in several directions directions several in branches with building the through runs text and elements natural of coloured pipes with elaborate objects, state. Durham’s labyrinthine installation Norwegian the and peoples Sámi the between trials many hosted has court bilingual first This Deatnu. in House Court established newly the for awork create to Indigenous advocate. an Bosé, Santiago artist, Filipino the and Savio John artist Sámi iconic the invoking Indigenous, globally interconnected issues – poems of aseries –through addresses

There isnoSantiagoBosé. In thewholeworld,notonlySouthPacific, I wanttoaskSantiagoBosé. ‘Tsani’?” Or evensomethingclosetotheCherokee Myself, “Whyisn’t hecalled‘Jan’,or‘Johan’ By JohnSavio.“John?”Iasked Surprised byadisplayofwoodcutprints Next year, Iwasnotshockedbutstruck; But notyetKarasjokwhereIhopetogo Far inthe(notreallysocold!)northofNorway Santiago Bosé’s Poem D D urham was commissioned in 2004 2004 in commissioned was urham exhibition this for piece urham’s Lender: Dimensions: 2018 Year: Namaheapme / / Jimmie Durham. Untitled about itandIknewthattheirhelpwould beun-helpfulanyway. chance tochallenge theU.S. by helpingusbutwere never serious ‘superpowers’ oftheU.S. andtheSoviet Union. The Soviets saw a In thosedays theworld was sharply divided between thetwo Zimbabwepeople from Africa and called NorthernRhodesia). (then so was abletorely onhelpandadvice fromtheANCofSouth I hadlived inGeneva, wheretherealwork oftheU.N. takes place calling ondelegates. across thestreetfromGeneralAssembly buildingandbegan Movement anddelegatesattheconference, Iopenedanofficejust Elected directorandU.N. representative by theAmericanIndian world andtheUnitedNations. well-planned effortstoenlistsolidarityfromothercountriesinthe communication between indigenouspeoplesoftheAmericaswith Two programswere seenasmutually important:strategic Movement. Treaty CouncilundertheumbrellaofAmericanIndian nations withintheU.S., voted toformtheInternationalIndian Guatemala, Ecuador,Panama, well as as representatives many from Delegates fromMexico, Canada, Bolivia, Columbia, Chile, and strategy forinternationalacceptance. relationships withtheircolonizers, andthiswas seenaslegal proof U.S. andCanadamany indigenousnationshadenteredintotreaty It was calledan ‘International Treaty Conference’ becauseinthe North andSouthDakota. held aconferenceontheStandingRock Reservation which straddles In 1974A.I.M. andtheleadersofdifferent Lakota reservations was necessaryandpossible. time whenwe saw thatunityandunitedactioninbothcontinents for centuries, 1973becameakindofculminationefforts- had beentryingevery way possibletoresistcolonial oppression Although indigenouspeopleallover NorthandSouthAmerica 300 were ultimately arrestedandfacedprisonsentences. United Nations. Even thoughpeoplewere killedandmorethan press andasaninterestingbreakintheimportantagendasof It was treatedasahumorous ‘human interest’ storyby thelocal for theoccasion, todemonstratetheseriousnessofsituation. Those leaderswore formalattire, includingfeatheredheaddresses, headquarters inNew York City. the Lakota elderssentadelegationofchiefs totheUnitedNations That ledtoasiegewhich lastedmorethan90days, duringwhich surrounded by various policingorganizationsandby theU.S. Army. A.I.M. membersandthelocalSioux(Lakota) citizenswere quickly Ridge SiouxReservation inSouthDakota. trading postinthevillageof at the Wounded KneeonthePine In 1973theAmericanIndianMovement (A.I.M.)stagedaprotest Berlin 2003 Michel Rein more indigenouspeopleintheworld. Over many years afterA.I.M. was broken apartImetmoreand and controlareasinwhich they hadcommercialinterest. countries, England, France, theU.S., usedtribalgroupstodivide indigenous situationsworld-wide. Itwas already clearhow various We were beginning toseetheimportanceofabroadervision languages ofEcuador?” inviolable? Why cannottheShuarlanguagebeoneofofficial the Shuarbedominatedby Ecuador? Why isShuarterritorynot Karakras, oftheShuarFederation inEcuadorsaidlater, “Why must It isthatthenation-statesmustchange. Asmy friendAmpam thought of. parts ofthreeorfourexistingnation-stateswas alsonotwhatwas It wasSami nation-statewhichthat a see easy to encompassed ourselves hasnever beenconsideredaspracticalby any ofus. realistically conceive of. Becominghundredsofsmallnation-states Canada, sothatfreedomfromcolonizationwas noteasyto suffering underatleasttwo nation-statessuch astheU.S. and manyfound themselvesthe Americas peoples in separated and Most importantly, Iknewthatbecauseoftheways ofcolonization mind which stayed. people inNorway, Sweden andFinland. Hiswords leftideasinmy reservations.Gaski spoke plainly, Sami situations of explainingthe would have beengoodifhecouldhave madeatourofsomethe He was on his way toaconference, otherwisewe boththoughtit In 1976or77HaraldGaski, SamifromNorway, visitedtheoffice. Philippines, Norway andotherplaces. often inprison;AinupeoplefromHokkaidoJapan, fromthe But every monthourU.N. officereceived lettersfromindividuals, neither strategically norfinancially. to broadenourbaseoppressedpeoplesbeyond theAmericas; aboriginals inAustralia butwe alsoknewthatitwas notpossible Because ofeffortsontheirpartwe hadconstantcontactwith We hadnofaxmachines, certainly nocomputersnorcellphones. and ofindigenouspeopleintheU.S. There was very littlemoney andvery much repressionofA.I.M. no results. of SouthAfricafoughtattheU.N. formorethatfortyyears seeing We allknewthatwe hadtoprepareforalongprocess. The ANC at all. in otherAmericancountries were notconsidered nor thoughtof Hollywoodpart of film lore, notasrealpeople. Indigenouspeoples Indigenous peoplewithintheU.S. were stillseenby theworld as but even inthosecasestherewas much skepticism. several member-states oftheNon-AlignedMovement were helpful Besides several otherorganizationsofpeopleresistingcolonization Dimensions variable Uten tittel Uten As theGuaranisay, humanityissearching tobecomebetter. near future, even thoughoftenclumsily andfullofcharlatans. actual life, isalsoworking. Changesarebeingbroughtaboutfora A truly badtimeintheworld, becomingworse. Yet notonly seeds, indigenous Pygmy peoples. Philippines andmany Africancountriescompletely ignore India saysthe Dalitsimply that inferior. are Sri Lanka, the indigenous, asdoesthecountryofIsraelagainstPalestinians. Rohingya, offerstheexcusethatRohingya arenotreally Myanmar, aBuddhistcountrycommittinggenocideagainstthe atrocities againstindigenouspeoplesby allthenational-states. In thepastfewyears theworld hasseenmoreandhorrible capitalism andsocialismtoberealistic. The peoplesof Yakutiaperceivenot do thepoliticalstancesof ultimate control. excluding Russia. Russiaisstillseenasthecolonizerand has Soviet Union, orunionofsemi-autonomouscooperative areas;but An Ivenk scientisttoldusthatthey wishedtherecouldstillexista becoming scientists. the 90s. The localpeoples, Yakut, Ivenk andIvena, resistedby severe repressionby Russiacontinuedatvarious levels even into Yet inthe1930sStalin’s agentskilledevery shamanthey could. The no Gulag. It ismorethanfive timesthesizeof France buthadnorailroad. So Yakutia. semi-autonomous Republicof northern Siberia;the to their son Seppälä toaccompany her, herscientisthusband, Yrjö Haila, and wasof 1994-95I In thewinter invited by theFinnishcuratorMarketta Who actuallylivedinParisforawhile. Of JohnSavio,theSamiorphanartist And Santinevermentionedhavingheard The FilipinoartistwhodiedinBaguioCity, Have everheardofSantiagoBosé, Fewer and(sosadly!)evenfewerofyou And ‘Tiago’ inPortuguese. Also inSpanish‘Yago’, ‘Iago’,‘Diego’,and‘Thiago’ ‘James’ inEnglish,then‘Jimmy’ and‘Jimmie’. ‘San Jacques’ ‘SanJacobo’ and‘SanGiacomo’ ‘San Diego’ withadifferent pronunciation. “Santiago’ isaSpanishname,thesameas John Savio’s Poem

Berlin 2003 38 Artworkers News (formerly Artworkers Newspaper Artists and Art monthly their edited 1985 to 1982 from and 1983, to 1981 from York City New in Artists of Community the for Foundation the of director the was He Americas. the in peoples Indigenous specifically related to the experiences of and colonial violence and genocide, of identity, modes of representation, questions addressed work his decade this Throughout making. art on afocus to returned and AIM quit he 1980 In Children. for Books Interracial on Council the by Protest Indian American of Chronicles the of edition second the edited and IITC, the of newspaper monthly Treaty the of Council News coeditor the was he 1980, to 1975 From organization. the within representation official have to group minority first the Nations, United the to Indians American of representative the made was and York City New in (IITC) Council Treaty Indian International the of director executive the became he year same That 1975. in Council Central their of amember become would he (AIM); Movement Indian American the for Dakota, and became a full-time organiser South in Knee, Wounded at occupation the in participate to States United the to returned he 1973 in activist, A lifelong Americas. the of Indians of struggle the coordinate and encourage for support called Indigenous friends from South America with organization an formed he time, this At life. public into art integrate to ways explored which group, Draga the formed he artists, other three With sculpture. he worked primarily in and performance where Geneva, in Beaux-Arts L’École des at enrolled he 1968 In poet. and essayist asculptor, is (b.1940) Durham Jimmie West,North, Down and Inside Yourself.” South, East, Up, directions: main seven are “There says: wall the on plate brass A question. open an remains building the inside or outside begins work the Whether ground. the into disappearing before rock, alarge to out reach and walls cross that Incomindios , which attempted to to attempted , which in 1976, published published 1976, in ). , a by Edition Hansjörg Maye. Hansjörg Edition by was published Together Go Not Do That Antwerp, and his book of poetry Kunst, Hedendaagse van Museum and 2012 Interrupted, Selected Writings 1993– 2013 In Press. Kala by 1993 in published Coherence of Lack A Certain essays, collected His Minneapolis. Press, Day Columbus poems, of book Text. His Third and Journal, Art Artforum, as such journals D urham has published many texts in in texts many published has urham , was published in 1983 by West End End West by 1983 in published , was was published by Mousse Publishing Publishing Mousse by published was Jimmie Durham: Waiting to Be Be to Waiting Durham: Jimmie , was , was Poems Poems 39 industrialisation of nature. the and exploitation mining massive from resulting environment the and climate the in changes of consequences the by menaced be to first the are globally under threat. Sámi and Indigenous peoples are systems belief Indigenous 1970s, the in Today, as decision-making. public of forms participation in development and other active their and knowledge, Indigenous for respect peoples, Indigenous of rights cultural the of recognition agreater for called movements These politics. national peoples had been marginalised from Indigenous which in centuries two nearly after grew, movements social Indigenous of types new as 1980s and 1970s the Indigenous populations emerged in communities around the world. the challenges affecting Indigenous forever. community Krenak the of life of way the destroying thus River), (Sweet Doce Rio the into waste toxic released which Brazil in Gerais Minas of state the in company Samarco by owned 2015 in dam waste mining the of collapse the addresses Alves In Alves Thereza Maria Rio Doce: Sweet No More No Sweet Doce: Rio The political exchange between between exchange political The of emblematic is work Alves’s Kai-Morten Vollmer Kai-Morten Photo: Lender: Dimensions: 2017 Year: Material: Painting on textile lengre Søt Ikke Doce: /Rio fiinnis More No Sweet Doce: Rio Alves. Thereza Maria Michel Rein 337 x 165 cm x165 337 Rio Doce: Ii šat šat Ii Doce: / Rio , Maria Thereza Thereza , Maria among them the 29 international exhibitions and biennials, many in seen been has artwork Alves’s Europe. for Narrative aNew formulate to committee special his of part be to Alves asked Union, European the of president Barroso, Manuel José 2012, In Geneva. in Conference Rights Human UN the at Brazil of population Indigenous the by suffered presentation on the human rights abuses official an made she York, New in based Council, Treaty Indian International the of amember as 1979, In Brazil. of Party) the dos Partido Trabalhadores (Workers’ for US the to arepresentative as served she 1981 1987, in in and Brazil Paulo, São of Verde Partido the of co-founder was Alves artist. an is 1961) (b. Alves Thereza Maria view at the Biennial 13. Sharjah Art on currently is 13 (2012), and dOCUMENTA (2014), and Biennial Berlin (2015), the Biennale Moscow the 2010), (2016, th São Paulo Biennial Biennial Paulo São 40 41 projects Events offsite and 42 Akademie Schloss Solitude in Stuttgart. at afellow is He London. Art, of College Royal the and Architecture of Faculty Association, University of Westminster Architecture the at critic aguest was He London. of University Goldsmiths, at Cultures Visual of department the in taught at London Metropolitan and has previously Architecture of School Cass The at lecturer a is Ahmed forums. political and legal in analysis spatial presents and gathers that research undertake to theorists and architects, artists, filmmakers, activists together brings which Goldsmiths, at funded Forensic Architecture Project ERC- the of amember is London. He in Response, a sound organisation art based (2013–14). of the two-year ‘Anthropocene Project’ part was he where Berlin, in HKW and Biennale (2012), Biennale (2014) Cuenca Taipei the in participated Ahmed Recently, development. and law, conflict the to relation in nature of status contemporary His transdisciplinary research explores the artist,Bangladeshi writer and researcher. is a London-based, Ahmed Nabil challenges across Sápmi. current to connection law, in the and regulation, spatial and media practice, environmental on research recent his engaging aworkshop lead will Ahmed Nabil relationship between songs and rebellion. scholar Áine Managaoang addressing the by atalk and film, and theatre restoration, ecological of intersection the at work her on Feodoroff Pauliina by presentations includes event The today. and 1970s the of affirmative cultural thinking during forms other and theatre, Sámi action, Áltá the about talks of aseries with closes Flow’ River the ‘Let exhibition The Ahmed is co-founder of Call and and Call of co-founder is Ahmed journals the in appears writing Her detention. of places contemporary in music of role the map to film-making, and sound NOTE current research project, Her society. of margins the at those by particularly life, everyday in experienced is music how with concerned is work Her musicologist, educator, and musician. Áine Mangaoang is an Oslo-based, Irish 2011). Cooperative, Snowchange [eds.], Mustonen Kaisu and Mustonen (Tero Atlas Sámi publication, Eastern which resulted in the critically acclaimed occupation land of study amultiannual in by mining companies. She also participated investigate the impact of land occupation to Russia in communities Sámi remote many visited Feodoroff time this During Council. Sámi the of President elected as served she 2006-2008 Between Finland. Sápmi/Northern in Nellim of forests old the in husbandry reindeer the preserve to as well as rights land and water for fought has Feodoroff Finland. Northern herding Skolt Sámi in community Sápmi/ areindeer in up grew she and Peninsula, Kola the from originally are family 2007. in Prize Her Incentives Critical Association) Critics’ Finnish (The SARV the awarded was she which for 2007) and Teáhter, 2017) Sámi among others, CO2lonialNATION for known awriter, and director theatre Pauliina Feodoroff Music, University of Liverpool. Popular of Institute the and University, Philippine Culture, Ateneo de Manila of Institute the Reykjavík, Arts, the of positionsacademic at the Academy Iceland of Oslo. Prior to this, Mangaoang held University the at Fellowship Research aPostdoctoral holds currently and group, Sounds Mangaoang is co-founder of (forthcoming). Bloomsbury by published is Power, and Music Pop Mediations: Dangerous monograph, first her and , uses mixed methods, including including methods, mixed , uses , an interdisciplinary research Postcolonial Text is a Sámi film and and film aSámi is Non Profit PRISONS OF OF PRISONS , and Nordic Torture (Giron (Giron (film, (film, , 43 of Norway, Sweden and Finland meet. Finland and Sweden Norway, of borders national the where to close Sápmi, of heartland the in 1979 in Gárasávvon in festival Šuvva Davvi –the North” the of Indigenous peoples’ festival, “a Woodstock an organize to initiative the took he such WCIP, of as coordinator cultural the as serve to elected was Áilloháš exhibition. this in represented also is who Áilloháš, –namely delegation Sámi the in artists the of one by performed genre) vocal powerful the heard regions Southern the from peoples Native the when 1970s mid the in WCIP of congress founding the at Alberni Port in accepted as an Arctic Indigenous group were Sámi pale-faced the Even fight. the meetings strengthened the continuity of political the followed which get-togethers popular gatherings where the cultural as functioned also but deliberations, political of consisted body this of assembly first WCIP. The Peoples, Indigenous peoples, namely the World Council of cultural organization for Indigenous worldwide collaborative political and a establish to endeavors the through represented beginning, very the from movements peoples’ Indigenous global traditional values and worldviews. our of strength the in belief emphasizing world, the over all peoples Indigenous among views shared the is activity allied this for foundation strongest The heard. voices our make to order in groups need good relationships with supporter and rights. Indigenous peoples Indigenous Sámi for struggle the in allies good have to is it important how proved action Áltá the Secondly, planet. this on existence our of view holistic amore of recognition a with concurrent decades last the over obvious more even become has which connection between arts and politics, dialogic important the demonstrated it all, of First issues. peoples’ Indigenous concerning insights many the to eye-opener an was struggle Áltá The Gaski Harald Prof. and Guttorm Dr. Gunvor Council Advisory bythe Statement The Sámi took an active part in the the in part active an took Sámi The juoigan (traditional Sámi today. today. interpretations its and art of discourse global the to contribute can perspective Indigenous an how demonstrates it and 1970s, the in started that struggles the of experience. Such an approach forms a part affirmation of Indigenous knowledge and an as concept duodji the at look to possible is It craft. and art of contexts different the between amediator as it, from liberated be can it or craft Sámi of context ‘traditional’ a with continuity in existing as understood be can today Duodji importance. and duodji artistic approaches and expressions, world. Indigenous the of rest the with wisdom our share to ready were we and myths, our honored we epistemologies, our in pride We took knowledge. And endurance. and pride with filled culture a to belonging of sense strong a and self-esteem of aposition from performed and spoke who artists and politicians, a well-educated generation of scholars, forth bringing Sápmi, in decade powerful and politicised avery was 1970s The When we talk about contemporary are of central central of are juoigan (yoik) 44 be dismounted and reused. may panels the while functional, and visible is suspension The site. on assembled and prefabricated been have elements construction, the various exhibition a that way same the In materials. of use Sámi earth exhibition elements reflect the down-to- campaign. Live” River the “Let the of narrative the in as parts, the of sum the than more becomes totality The exhibition disappearfrom surfaces sight. the centre, the from Seen presented. art Sámi the of development the in position central a assume to came demonstrations Áltá the how to similar amidpoint, from forth radiate elements exhibition The nature. of cycles the and wheel calendar Sámi the by inspired form, basic its as site. the to exhibition the connect helps and style the of part integral an becomes light shifting The worlds. outside and inside the between alink create windows many The installations. larger the for backdrop dynamic a forms and point afocal as serves stairway The landscape. open an in though as room, the in freely hang elements exhibition let to used been have and opportunity constructive a provide ceiling the in trusses exposed The space. OCA’s is exhibition that context, local the to according designed been has exhibition the architecture, polar opposites. two these between ahybrid therefore is exhibition the of style The colours. vibrant of use joyous the and detail of a wealth features duodji, as even scarcity, a material and functionality by informed and low-key are buildings vernacular Sámi nature. to link inextricable its and culture, Sámi by inspired were we art, Sámi display to order In resources. of use and materials of choice that recurs throughout the installation, the discussions with the curatorial team. close of result the is design exhibition The (Torsteinsen Design) Øverby Vidar and Torsteinsen Solveig and Fredrik (A-Lab), Anti Káre architects bythe Statement The materiality and design of the circle the taken has exhibition The Sámi traditional with line In motif a is necessity of aesthetics The lavvu , or tent, is a temporary atemporary is tent, , or a of interpretation an as reworked been source of information. important an as served which action, the of camps the in prevalent board” “bulletin of kind the as displayed is demonstrations Áltá the of time the from items of collection wide-ranging and Alarge exhibition. the for backdrop figurative and literal a as Sámi symbols and duodji. in colour of love the to anod red, painted been have slits side The homeland). Sámi (the Sápmi of traditions the to according hand by tanned been have that hides, sisti with covered boards have shelves and vitrines Inlaid structure. and colouring in variation natural the reveal and unfinished are surfaces The materials. the of use the maximize to scaled and plywood birch in clad are panels display The demonstrations. Áltá the of emblematic flag, Sámi the from and gákti Sámi from both recognisable are cloth the of colours The works. projected for space secluded awarm, create floor the on out laid hide reindeer the and cloth wool The curtain. wool a multicoloured lavvu The space beneath the stairs has has stairs the beneath space The serves wall posterior venue’s The , which may be entered through through entered be may , which , reindeer 45 P Sami DAT – Enköping; Arbetsförmedlingen Museum, Alta exhibition: this in works of lenders institutional the all to as well as exhibition, the in participating artists the to grateful deeply We are Council). Advisory (Exhibition Gaski Harald and Guttorm Dr. Gunvor scholars Sámi of advice the from benefited has project The Cataldo. Antonio with García-Antón, Katya by curated and OCA by produced exhibition the MakingofaNewWor Will and ‘Let theRiverFlow.TheSovereign Acknowledgments (A-Lab) a Anti R. Káre to you thank warm A very project. this of preparation the in support and advice invaluable the for Vister Øyen Már Elin and Utsi Kristina Somby, Silja Somby, Niillas Marry A. Somby, Somby, Ánde Snarby, Irene Ragazzi, Rosella Olli, May Anne Nango, Joar Hætta, Mathis Odd Halbertsma, Maaike Fors, Gry Taru to Elfving, thanks aspecial extend to like would OCA ( RiddoDuottarMuseat – (SVD) Vuorká-Dávvirat Sámiid (RDM); –RiddoDuottarMuseat (SDM) (Kárášjohka); S S RiddoDuottarMuseat; (Tromsø); Romsa Museum Art Norwegian Northern Norway; Art /Public KORO Region; Gävleborg Torsteinsen) f Fredrik and Øverby Vidar Torsteinsen, design was realised by Hans Gremmen. Hans by realised was design The e OCA’s(see website). translations i Kirsi Paltto and Kjersti Velsand fo Velsand Kjersti and Paltto Kirsi to and publication, this proof-reading for Bazalgette Ben to grateful We are t in he xhibition’s p re ublisher a alisation o T nd nto S D orsteinsen or s D ámi R nd pe a ublication ámi a f t cially e he áiddamágasiidna C ecord RDM). N nd C aami ldliness’ isan xhibition de w ( esign ork orwegian ompany; g nd ouncil ing t Solveig r raphic their their ogether sig n. Norway. Art Contemporary for Office the contact please permission, us given not have you and publication this in material protected copyright have you If material. protected copyright all for permission obtain to effort every made We have permission. with reproduced are and thereto copyright the hold who works, the of owners the by supplied were materials All Risnes. /Magne OCA by are reproductions Unless otherwise specified, photographic © 2018,Norway for Office Contemporary Art 46 Ida Marie Ellinggard, External Relations Officer Project Horvei, M. Vilde Officer Project Vettukattil, Nikhil Liv Brissach, Project Officer Anne Charlotte Hauen, Grant and Tara Ishizuka Hassel, Communication Antonio Cataldo, Curator Toril Fjelde Høye, Head of Finance and Director García-Antón, Katya Staff OCA Officer (until February 2018) February (until Officer 2017) November (until Administration Officer Manager and Administration Chief Curator

8 Áillohaš / Nils-Aslak Valkepää 10 Iver Jåks 11 Jon Ole Andersen 12 Rose-Marie Huuva 13 Catarina Utsi 14 SÁMI ARTISTS’ GROUP 15 Aage Gaup 17 Trygve Lund Guttormsen 20 Josef Halse 21 Berit Marit Hætta 22 Keviselie / Hans Ragnar Mathisen 25 Britta Marakatt-Labba 26 Rannveig Persen 27 Synnøve Persen 28 Arvid Sveen 30 THE ARCHIVES OF THE PROTEST MOVEMENT AGAINST THE DAMMING OF THE ÁLTÁ- GUOVDAGEAIDNU WATER SYSTEM 31 Geir Tore Holm and Søssa Jørgensen 32 Dáidadállu | Artist Collective – Guovdageaidnu / Mai-Lis Eira and Elle Márjá Eira 33 Dáidadállu | Artist Collective – Guovdageaidnu / Susanne Hætta 34 Dáidadállu | Artist Collective – Guovdageaidnu / Máret Ánne Sara 35 Tanya Busse and Joar Nango 36 Elin Már Øyen Vister 37 Jimmie Durham 39 Maria Thereza Alves

Translations of the booklet in Northern Sámi and Norwegian are available on the OCA website.