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Hasansens Kjelke HASANSENS KJELKE Sayed Sattar Hasan Ski – Originates from the Norse word Skíð; which means to divide or split. The traditional process of making wooden skis involves felling a tree and splitting a log in two, providing material for each ski. Charpai – A derivative from Hindi and Persian, meaning four feet. A charpai is a type of divan, common to south-Asia. It is typically used as a bed, or seat, and can be found in the home or outside. Kjelke – The Norwegian word for sledge or toboggan. Hasansen – A name which combines the artists surname ‘Hasan’, with the common Scandinavian name ending ‘sen’. Cover image: Kjartan Helleve 2 Inspired by Norwegian polar explorer Fridtjof Nansen, who developed the 'Nansen Sedge' to cross Greenland in 1888, Sayed Sattar Hasan has fused traditional Norwegian and Pakistani crafts to make a hybrid sledge. In doing so, he has become Norway's first traditional Charpai-kjelke maker under the new identity of Hasansen. Rather than venture into uncharted geographical landscapes, Hasansen Kjelke explores cultural frontiers as he aims to find new ways of discussing cultural and national identities. The presence of different cultures in society becomes the artists starting point as he attempts to imagine the possibility of new objects and histories that reflect the condition of contemporary society. The project addresses questions on tradition and heritage and the tensions between preserving the past and embracing change. The charpai-kjelke thus becomes a hybridised object that connects multiple cultures while also expressing a new cultural territory that goes beyond simplistic notions of national identity. 3 Portrett av Hasansen, 2020 4 In order to make the first version of Hasansens Kjelke, the artist built relationships with a number of individuals whose contributions were vital in realising the project. Thomas Aslaksby, a ski-maker from Valdres, Norway, played a key role in making the skis and frame, while also providing essential advice on the kjelkes design. Tayyeb Hassan, a charpai maker from Sheikhupura, Pakistan, crafted the legs using a traditional foot-lathe, which gave the kjelke a distinct south-Asian quality. Finally, the mattress of the Charpai-kjelke was completed by Oslo residents Ruhkaia and Iqbal, a married couple who had not woven a charpai for over 50 years, since migrating to Oslo from Pakistan. Hasansen tested the kjelke at Kolsås Ski centre, Oslo, in February 2020, where it performed both high-speed and stationary tasks with impressive results. 5 Tayyeb og Thomas, Video Stills, 2020 6 Tayyeb og Thomas, Video Stills, 2020 7 Veving, Video Still, 2020 8 Jomfruturen, Video Still, 2020 9 Jomfruturen, Video Still, 2020 10 Jomfruturen, Video Still, 2020 11 Tur til Grønland (Oslo) Hasansen made many journey’s to Grønland throughout the project. He had to use public transport to carry important materials for the kjelke to the Intercultural Museum (situated in Grønland, Oslo) and also unveiled the Kjelke, to a surprised public, outside Grønland t-bane (metro station). For many passers-by from the south- Asian community, the sight of charpai in Oslo was a source of amusement. “It’s a charpai, but it’s not a charpai”! Exclaimed an elderly gentleman who had migrated from Pakistan to Norway in the 1970’s. While people familiar with kjelkes, but not charpai’s, were intrigued by the adaptation. Regardless of background, the object prompted discussion about cultural hybridity and what constitutes as a traditional Norwegian craft. 12 Hasansen på t-banen, 2020 13 Tur til Grønland, 2020 (series) 14 Tur til Grønland, 2020 (series) 15 Tur til Grønland, 2020 (series) 16 Hasansens Kjelke at the Intercultural Museum Hasansen’s Kjelke is currently on show at the Intercultural Museum, Oslo. The exhibition presents photography, video works and two versions of Hasansen’s Kjelke. In the opening week, the gallery space was used as an open workshop where Thomas Aslaksby, Sayed Sattar Hasan, Rukhaia and her sister Bibi made a second version of the kjelke. Within the former police station, where the work is on show, there is also a self-service tea lounge and pop-up portrait studio for people to create their own heroic portraits. Fridtjof Nansen’s great-granddaughter, Kari Greve, was specially invited to the exhibition to have her portrait made by Hasansen. 17 18 19 21 22 Portrett av Kari Greve (Oldebarn av Fridtjof Nansen) 2020 23 Prosjektet Hasansens Kjelke er produsert av: Og støttet av: 24.
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