Artists Collective | Kautokeino

Katya García-Antón, Co-curator of the Sámi pavilion at Venice Biennale 2022

16-10-2020


Katya García-Antón, photo by Eirin Torgersen

Three Sámi artists have been invited to transform the Nordic pavilion into a Sámi Pavillion at the Venice Biennale in 2022. Amongst the artists is Dáiddadállus initiator, Máret Ánne Sara. On this occasion, Dáiddadállus communicator, Ánne Kátjá Gaup, had a talk with kurator for the Nordic Pavilion (now Sámi pavilion), Katya García-Antón, member of the curatorial group, about the Venice Biennale and Indigenous art in this defined western art scene. 

 

What does the Venice Biennale mean to art, and what do you think it will have to say for Sámi art?
-La Biennale di Venezia is the grand lady of biennials in the world. It´s first edition was dedicated to the arts in 1895, since then it has also created separate biannual editions for film, dance and architecture . The art biennial became increasingly international throughout the 20th century and increasingly influential in the art world; it created interest in the visual arts and positioned Venice as a mecca to experience the most innovative arts of the world. It´s influence led to the creation of other biennials across the world, in particular I would mention the Sao Paolo Biennial created in 1951, the India Triennial launched in 1968 and the Havanna Biennial in 1984). Particularly since the 1980s there has been a biennial boom world-wide, specially in the global south, so that today there are about 300 across the globe.

Of those 300 art biennials in the world I mentioned earlier, only a handful are Indigenous art biennials. Notable amongst these is the Abadakone quinquennial run by National Gallery of Art Canada (its third edition was in 2019). In addition Sydney Biennial in 2020 was an Indigenous centred Biennial with the title NIRIN, curated by WIradjuri artist and curator Brook Andrews (but its not an Indigenous Biennial per se)

Despite this biennial fever, La Biennale de Venezia remains the most influential, a place to see art from all over the world, to be updated on the latest artistic concerns, and a place of debating and networking, amongst art world professionals and global influencers. 

Each Biennial consists of a main exhibition – curated by a prestigious international curator. In 2022 it will be curated by the influential NY based, Italian curator Cecilia Alemani. In addition the Bienniale also consists of national pavilions. Originally they were all housed in the Giardini, the gardens of the Biennial.  The Nordic Pavilion was built in the early 60s, its one of the most beautiful pavilions, it is situated centrally, on the main avenue, in the Giardini, it is a prime location, flanked on the left by the Danish Pavilion, in front by the Russian Pavilion and behind by the USA Pavilion, a few steps up the main avenue are the German, French, British and Japanese Pavilions.

Initially national representations were only presented in national pavilions in the Giardini, but today around 100 countries have national representations in total, between Giardini pavilions, and dedicated areas within the general exhibition, and also outside as satellite pavilions held in palazzos in the city of Venice.

Prestigious awards are a given for each edition, a Golden Lion Award to the best pavilion and a Silver Lion award to best upcoming artist in the general exhibition. No award has as yet been given to an Indigenous artist or pavilion.

There is not to date a permanent Indigenous Pavilion in the Giardini or outside. However there has been Indigenous representation in the recent history of the Biennial, the most notable of which were Lisa Reihana in the Aotearoa/New Zealand Pavilion in 2017 in the central exhibition, Nicolas Galanin in the Native American Pavilion 2017 as a satellite project in the city of Venice; in the Giardini itself,  Tracy Moffat in the Australian Pavilion 2017, Isuma in the Canada Pavilion 2019, and an installation by Outi Pieski presented as a part of a project by the Miracle Workers Collective presented in the Finnish Pavilion in 2019. In this way the Biennale is beginning to contribute to bringing Indigenous art practice and Indigenous concerns, knowledge and awareness, to a broad audience.

However 2022 will be the first time a national pavilion is exclusively dedicated to present Sámi artists, and the first time the Sámi people are recognised as a nation in a national pavilion internationally.

Overall I hope you can see that La Biennale di Venezia is the most prestigious, well known and influential art biennale in the world, producing and spreading awareness about art, engaging new audiences around the world, and showcasing artists to a network of visiting art professionals the biennials. Millions of art world audiences follow the biennial digitally, and the 2019 Biennale received physical audiences of 500,000 visitors (including Italian and international visitors).

It is a tremendous privilege and honour to be selected for this Biennale, to be written into its history and so enter into the narrative of global art history. Each artist is well funded, have a dedicated team of professionals at their service to enable the production, installation, global communication and dissemination of their work. Their selection into the Biennale gives each artist a unique chance to make new work, to connect with new global audiences, and to use the biennale as a huge loud-speaker to the world regarding their art, their stories and concerns.

 

Why did you invite exactly these artists?
– Before answering this I want to say that a lot of consideration was given to this choice. We in OCA have been preparing for this specific project since 2016. The Sámi art field is tremendously strong and varied with different forms of art practices engaging with different concerns. This is extraordinary given the challenges Sápmi faces today. There are a number powerful artists who could have been chosen both of the older generation and the younger one. However, one thing which was important for us was to work with a younger generation, the generation who are responsible for defining the near future, a generation dedicated to addressing urgent issues of concern for Sápmi right now, that are relevant to the world right now. We also wanted artists who embodied through their art practice the expression of what Sámi sovereignty means today to them, and that in this way resonate and connect with the very same at a global Indigenous level. We thought this conviction and creative power would resonate within but also well beyond the global Indigenous art world.

By appointing Máret Ánne Sara with Anders Sunna and Pauliina Feodoroff to transform the Nordic pavilion into the Sámi pavilion, we in OCA Norway – the commissioner of the Nordic Pavilion for the Biennale Arte 2022 – aim to draw attention to the excellence of these Sámi artists, as well as the international relevance of their individual and collective histories. Their art emphasises the urgent situation experienced today by many Sámi – and other Indigenous people worldwide – concerning self-determination, deforestation, land and water governance. Specifically these Sámi artists engage with the struggle to maintain the reindeer herding and fishing that are central to their existence. The artists reflect upon these concerns by drawing from Sámi ways of being and knowing, producing work of great power. This makes them extraordinary within the art world of today.

Katya García-Antón, Director of Office of Contemporary Art Norway and member of the curatorial group in 2022 says:

‘The global pandemic, the impact of climate change and worldwide calls for decolonisation are leading us all to focus on alternative possibilities for our future and that of our planet. At this pivotal moment, it is vital to consider Indigenous ways of relating to the environment and to each other. The artworks of Feodoroff, Sara and Sunna in the Sámi Pavilion present compelling visions of how these relationships operate, from a Sámi perspective. As leading voices of their generation, these artists’ works counter the impact of colonialism upon their lives and, in so doing, connect with the experiences shared by so many people, Indigenous and non-Indigenous, in our world today.’

 

What do you think of Máret Ánne´s work?
-Máret Á Sara is a brilliant story-teller, and all her works are great communicators of the stories she wants to tell. She brings conviction, personal testimony, factual data and resistance as well as aesthetic and poetic qualities into her works. Her artistic practice is highly committed to resisting and transforming situations she experiences as being unjust. Her experiences are personal, as we have seen from works such as Pile o´Sapmi, and carry the strength of that personal commitment. In Pile o´Sápmi her form of expression was also collective, where she summons the solidarity of others in her community in order to challenge an unjust situation. 

In addition the works find common ground with the experience of other Indigenous people experiencing similar situations of injustice globally. Her art work is both specific and locally situated as well as global and internationally relevant. It resonates powerfully today with the calls for decolonisation in the Nordic region and globally.

She brings an experimental approach to materials, a deep interest in Sámi knowledges (whether they be material, of the natural environment, in livelihood practices and spiritual, all of which are encompassed in duodji) with an existential consideration of where we stand today as individuals and as a community in the world. 

Death is often at the background of her work, but I believe she is not a fatalist or a pessimist, quite the contrary I believe she is a fighter, an innovator and a visionary for offering alternative perspectives to build a more just future, a social justice that must be forged not just for Sámi people but for the world at large. 

All these qualities make her extraordinary, and a leading voice amongst her Sámi peers as well as a voice to be heard in the global art world today.

 

What is the idea behind a Sami pavilion?
– The transformation of the Nordic Pavilion into the Sámi Pavilion is an act of Indigenous sovereignty that highlights the relationship of the artists to their homeland Sápmi, an area that pre-dates the concept of the Nordic region, and presents a pavilion that encompasses all of the lands and people of what was originally a borderless region. 

It is a symbolic reversal of colonial claims that have sought to erase Sámi land and culture. It is a historic first in Biennial history in Venice or elsewhere. It is the first time a pavilion exclusively presents Sámi artists, and the first time that a pavilion recognises the Sámi as a nation in an international pavilion.

The calls for climate urgency and decolonisation in the art world have grown in strength over the last years globally. We are now at a moment in time where it is unacceptable to ignore these calls. The call is to decolonise and transform and Indigenise the art world are interlinked with climate urgency. This means biennials but it also means art institutions, art markets, art critique, art professionals need to engage with them and transform. The proposal of the Sámi Pavilion is a response to this call from an Indigenous perspective. 

Three Sámi artists have been selected to take a lead in the pavilion to transform it. In addition a curatorial group is put together including to leading Sámi voices in Sámi academia Liisa-Ravna Finbog (who is preparing a PhD in museology from an Indigenous perspective) and Sámi traditional knowledge bearer Beaska Niillas, working with myself. We will be assisted by Sámi artist and OCA Project Officer Raisa Porsanger, and Norwegian art historian and OCA Project Officer Liv Brissach. Together this group endeavour to centre Sámi and Indigenous perspectives in our thinking, method and practice.

Each artist was asked to choose a person from the Sámi community to be a discussion partner, providing them on a 1:1 basis with council where needed. They have all chosen elders in their communities, Pauliina  Feodoroff, will be guided by Sámi educator and professor emerita Asta M. Balto, Máret Ánne by reindeer herder and Sámi knowledge bearer Káren E. M. Utsi and  Anders Sunna by Sámi professor of law and juoigi (practitioner of joik, the Sámi musical practice) Ánde Somby. And this seems specially important as it emphasizes the relevance of elders as knowledge bearers and transmitters of that knowledge to younger generations

The entire project benefits from the council of two Indigenous peers who have tremendous local and global experience of working in the art world centring Indigenous perspectives. Anishinaabe a curator Wanda Nanibush and Wiradjuri artist and curator Brook Andrews (see press kit). They have both visited Sápmi (in 2019) in one of OCA´s visitor programmes and in connection with Dáiddadállu´s SapmiToo, so they are well versed with Sámi practices and concerns.

There will be a few other ways we will endeavour to centre Sámi and Indigenous knowledge, thinking and methods in our project, from mediation to publication, but more information on this will be released at a later stage.

Del dette

Nominasjon og kunstnerskapsstøtte til Elle Sofe Company

30-08-2022

Det er store ting på gang hos Elle Sofe Company. Elle Sofe Company er et av seks scenekunstkompanier som får en fireårig kunstnerskapsstøtte fra Kulturrådet. I tillegg er også forestillingen “Vástádus Eana – The Answer is Land” nominert til kunstkritikerprisen av Norsk kritikerlags Seksjon for teater, musikk og dans.

(mer…)

Del dette

Share This Post

[ssba]

Spennende samarbeid mellom ISFI og Dáiddadállu – Dáiddadállu produserer åpningen av ÁRRAN 360°

10-08-2022

SNEAK PEAK: ÁRRAN 360° filmlávvu
Govven/Foto: Knut Åserud

I samarbeid med Dáiddadállu – Samisk kunstnerkollektiv Kautokeino, feirer Internasjonalt Samisk Filminstitutt verdenspremieren for ÁRRAN 360° ved å bringe noen av de mest aktuelle navnene fra den samiske samtidskunstscenen til Venezia.

(mer…)

Del dette

Share This Post

[ssba]

Gelddolaš ovttasbargu gaskal Dáiddadálu ja ISFI – Dáiddadállu buvttada ÁRRAN 360° rahpandoaluid

SNEAK PEAK: ÁRRAN 360° filmlávvu
Govven/Foto: Knut Aaserud

Ovttas Dáiddadállu – Artist Collective Guovdageaidnu, Internašunála Sámi Filbmainstituhtta ávvuda ÁRRAN 360° vuosttaščájáhusa, ja bovdejit áigeguovdilis sámi dáiddáriid Veneziai.

(mer…)

Del dette

Share This Post

[ssba]

Rámiduvvon Vástádus Eana čájehuvvo Guovdageainnus

24-06-2022

Govven: Antero Rein

Čakčat čájehuvvo viimmat rámiduvvon dánsunčájálmas Vástádus Eana – The Answer is land Guovdageainnus, Elle Sofe Sara ruovttubáikkis. Čájálmasa váldosáhka lea searvevuohta ja fuolkevuohta olbmuid gaskkas ja olbmuid ja eatnama gaskkas.

(mer…)

Del dette

Share This Post

[ssba]

Kritikerroste Vástádus Eana kommer til Kautokeino

Fra danseutstillingen vástádus eana

Bilde: Antero Hein

Til høsten vises endelig den kritikerroste dansejoikeforestillingen Vástádus Eana – The Answer is land i Elle Sofe Saras hjembygd Kautokeino. Fellesskap og slektskap mellom mennesker og med naturen er hovedtemaene i forestillingen.

(mer…)

Del dette

Share This Post

[ssba]

Viktig milepæl og omfattende innovasjon – Spennende år for Dáiddadállu

20-01-2022

Fra annonseringen av The Sámi Pavillion. Oktober 2020 i Sametingets plenumssal. Foto: Eirin Torgersen / OCA

 

Dáiddadállu ønsker alle våre kunst- og samarbeidspartnere et godt nytt år! Vi er ekstra spent og glad ved inngangen til dette året, fordi det byr på mye spennende for Dáiddadállu både som institusjon og kunstnerkollektiv. Blant de aller største hendelsene er Veneziabiennalen og et omfattende utviklingsprosjekt. I tillegg til dette har vi flere begivenhetsrike prosjekter som vi kommer tilbake til.

(mer…)

Del dette

Share This Post

[ssba]

Dehálaš olahus ja eanet innovašuvdna  – Gelddolaš jahki Dáiddadálus

Sámi Pavillion almmuheamis. Sámedikkis. Govven: Eirin Torgersen / OCA

 

Dáiddadállu sávvá buot min dáiddár- ja ovttasbargoguimmiide buori ođđa jagi! Dán ođđajagimánus mis leat earenomáš stuorra vuordámušat go 2022 buktá olu gelddolaš dáhpáhusaid ja prošeavttaid Dáiddadállui sihke institušuvdnan ja dáiddárkollektiivan. Veneziabiennála ja viiddis ovdánahttinprográmma leat muhtin min stuorámus dáhpáhusain, muhto dát lea dušše unna oasáš min doaimmain 2022:s.

(mer…)

Del dette

Share This Post

[ssba]

EadnámetMaid part II program

27-10-2021

EadnámetMaid Part II álgá diibmu 12:30 Ruonaeanan áiggis. Norgga áigi dii: 16:30. 
EadnámetMaid part II starter kl. 12:30 Grønlandsk tid (Norsk tid 16:30). 

Del dette

Share This Post

[ssba]

EADNÁMETMAID joatká Kalaallit Nunaatas/EADNÁMETMAID continues on Kalaallit Nunaat

25-10-2021

(scroll down for English)
Luonddu billisteapmi – čuohcá go dat olbmuide ja dearvvašvuhtii? Dáiddadállu joatká dehálaš ságastallamiiguin Eatnámet Maid prošeavtaš mii dál lágiduvvo Ruonaeatnamis ja Nuuk Nordic kulturfestiválas. 



Buolli báhkká fáddá
Eadnámet Maid! lea deaivvadeapmi gos dáidda ja ságastallan lea guovddážis. Dáidagiid ja ságastallamiid bokte loktejit dáiddárat dehálaš ja áigeguovdiliš fáttáid min servodagas. Sihke ruvket ja bieggamillut leat buolli áššit maiguin eankilolbmot ja Sámi servodat lea guhka rahčan. Dáiddárat oidnet dárbbu loktet olmmošlaš beliid dáin áššiin. Movt luonddu illásteapmi váikkuha olbmuid, eallima ja dearvvašvuođa min servodagain? Jearrá ge Dáiddadállu go dál bovde ságastallamiidda Ruonáeatnamis.  

– Eananillástemiin ii leat geahči ja dat váikkuha min eallima, birgema ja maid min jurdagiid sihke praktihkkalaš dásis ja maiddai hui čiekŋalis silolaš dásis. Mii fertet dán birrá ságastit dadjá Dáiddadálu fágalaš jođiheaddji Máret Anne Sara.


Máret Ánne Sara. Govva: Árvu

Digitála čovdosat bukte ođđa vejolašvuođaid
EadnátmetMaid galggai diibmá čohkket dáiddáriid, akademia, politihkkáriid ja earáid miehtá Sámi ja maiddái eará eamiálbmot dáiddáriid, njeallje beaivvi guhkosaš prográmmii mas galge čájáhusat, ságastallamat, ovdanbuktimat ja eambbo. Go covid lassanii davvi-Norggas, šattai prográmma oalát rievdaduvvot oanehis áiggis. 

-Mii šattaimet lágidit hybrida deaivvadeami vai eai čoahkkanan olu olbmot seamma sadjai ja nu bovdiimet máilmmi deaivvadeapmái digitála čovdosiid bokte. Mis ledje olbmot mielde miehtá Sámi, ja maid eará eamiálbmot oasseváldit. Ovttas ovttasbargoguimmiiguin KulturSámis ja Sámeráđiin, álggaheimmet digitála ovttasbarggu vaikko ii oktage mis lean bearehaga bargan prográmmabuvttademiin dáinna lágiin. Ovttasráđiid ja buriin vehkiin čađaheimmet máilmme fiinna, digitála deaivvadeami ja mii leat hui duhtavaččat EadnámetMaid vuosttaš osiin. Dál nu go diibmá, oassálastet muhtumat streama bokte ja earát festiválas. Mis leat buorit vásáhusat lágidit digitála deaivvademiid ja iluin muitalit ahte EadnámetMaid part II sáhttá čuovvut streama bokte, dadjá Lynge. 


Álgoálbmot ovttasbargu deŧalaš
Eamiálbmogat miehtá mailmmi vásihit hástalusáid dálkkádatrievdamiid ektui ja luondduillástemiid dihte. – Dáin áššiin leat erenoamáš stuora váikkuhusat eamiálbmot olbmuide ja servodagaide danne go min guovddáš ealáhusát ja kultuvra lea ain nu čavga gittá luonddus ja das ahte luondu birge. Justte danne go mis leat nu stuora oktasaš hástalusat, de lea dehálaš gulahallat ja ovttasráđiid jurddašit ja bargat eará álgoálbmogiiguin, dadjá Máret Anne Sara. 

– Mii galggaimet diibmá jo bovdet Inuihtta dáiddáriid Kalaallit Nunaatas EadnámetMaid deaivvadeapmái dáppe Sámis muhto Covida dihte ii šaddan nu. Dál mii viimmat beassat čađahit deaivvadeapmi ja nu hukset ovttasbarggu ja gulahallama mas mii oaidnit hui stuora árvvu, dadjá Dine Arnannquak Fenger Lynge.  


Dáiddadálu beaivválaš jođiheaddji, Dine Arnannguaq Fenger Lynge. Govva: Arvu

Nuuk Nordic Talk Stage
Nuuk Nordic lea Ruonaeatnama stuorámus kultur ja dáiddafestivála mii lágiduvvo juohke nuppi jagi. Dáiddadállu lea mielde lágideame ságstallanarena NNK Talk stage gos dáiddárat, dutkit ja earát deaivvadit. “EadnámetMaid – NunarputAamma- The LandToo” prográmmas leat sáhkavuorut, ságastallamat, ja maiddái dáiddalaš ovdanbuktimat ja filmmat. Mis leat áibbas ođđá dáiddabuvttadeamit ja miellagiddevaš ságastallamat. Šaddá nu máilmme gelddolaš, dadjá Dine Arnannquak Fenger Lynge. 

 

Prográmma 
Nuuk Nordic Kulturfestivála álgá duorastaga 28.10 ja bistá 31.10.21 rádjái: 

 

EadnámetMaid 28.10
12:35 

  • Presentation of Dáiddadállu Dine Arnannguaq Fenger Lynge  
  • Presentation of EadnámetMaid by producer Maren Benedicte Nystad Storslett 
  • Digital greetings from Mari Boine 
  • Digital greetings from Silje Karine Muotka, president of Sámi Parliament in Norway
  • KlimaTerra by Anitta Suikkari and Hilde Skancke Pedersen- An artistisk walkthrough 

 13:40

  • Screening of Ealát by Elle Márjá Eira  
  • Q&A with Elle Márjá Eira and Ánne Kátjá Gaup

14:25 De språkløse

 

15:00 EadnámetMaid:
Violence and abuse against nature. How does it affect mental health, especially in indigenous societies?

  • Marit Anne Sara: Pile O Sápmi presentation
  • Sunna Nousuniemi: Screening: “Gáidat/Máhccat”
  • Talk between artists Máret Ánne Sara, Sunna Nousuniemi, Dine Arnannguaq Fenger Lynge, Ivinnguaq Storck Høegh. 


Friday 29th October Reflecting NNK
14:15  Sculptures Elle Márjá Eira, Jeannette Ehlers, Lill Frederiksen Chemnitz Moderated by Mathias Danbolt 

 

Saturday 30th October Reflecting NNK
13:15 – 14:00 Self organization/Self-determintation in cultural programs

  • Dine Arnannguaq Fenger Lynge, Dáiddadállu
  • Jonas Nilsson, Nuuk Nordisk 
  • Moderatorated by Sandra Marja West, RidduRiddu 

15:15 -16:30 MÁZE AND MÁZEJOAVKU 

  • Presentation of Susanne Hætta 
  • Talk between Hans Ragnar Mathisen (TBC), Susanne Hætta, Joar Nango 
  • Screening of Dál lea doarvái / Nok er nok / Enough is enough by Gunilla Bresky and Ken Are Bongo

 

EadnámetMaid lágiduvvo Dáiddadálu bokte, ovttas Sámedikkiin ja Office for Contemporary Art Norway (OCA) ja lea joatka OCA guhkitáiggi áŋgiruššamis Mázes, ikonalaš gilli sámepolitihka oktavuođas, ja OCA barggu ásahit internationála dáiddárresideansa álgoálbmotdáiddáriidda.

Liŋkka deaivvadeapmái almmuhuvvo gaskavahkku. 

(ENG)

EADNÁMETMAID continues on Kalaallit Nunaat

Violence against nature – does it affect people and health? Dáiddadállu continues with important conversations during EadnámetMaid! the project which is now being arranged at the Greenland and Nuuk Nordic Culture Festival.

EadnámetMaid is an event where art and conversation are in focus. Through art and conversations, artists raise important and current topics in our society. Mining and wind turbines are hot topics that both individuals and the Sami community have struggled with for a long time. Artists see a need to elevate the human aspects in these matters. How do encroachments on nature affect people and health?

– Abuse of nature has no boundaries and it affects our lives, living conditions and also our thoughts. We have to talk more about this, says Dáiddadállus’ subject leader, Máret Anne Sara.

 

Digital solutions provided new opportunities
Originally, last year EadnámetMaid was to bring together artists, academia, politicians and others from all over Sápmi, and the indigenous artists in a 4-day packed program with exhibitions, talks, presentations, performances and concerts. As the corona situation in the county was out of control with the spread and closure of hospitals, the entire program had to be changed just weeks before.

 

– We had to carry out a hybrid event by limiting the event to local participation only and inviting the world in through the digital channels. We had participants from all over Sápmi; south, east, west and north, in addition to participants of other indigenous peoples. Together with our partners in KulturSápmi, the Sami Council introduced a digital collaboration that none of us had much experience with in program production. But with combined efforts and technical assistance, we conducted a fantastically nice, digital collection where the theme of the project was worthily illuminated according to the circumstances and we are very pleased with the result in the first part. Now as last year, some participate via stream and others at the festival. We have gained good experiences with arranging digital meetings and can happily say that EadnámetMaid part II can be followed via stream, says Dine Arnannguaq Fenger Lynge, Daiddadallus managing director.

 

Valuable collaboration with our indigenous sisters and brothers
Indigenous peoples around the world are experiencing challenges from climate change and abuses of nature. – In these cases, the impacts on indigenous societies are enormous because our culture and primary industries are so strongly linked to nature. Because we have the same challenges, it is important to communicate and think together and work with other indigenous peoples, says Máret Ánne Sara.

– We were to invite artists from Kalaallit Nunaat to last year’s EadnámetMaid in Sápmi, but due to covid they could not travel to Norway. Now we finally get to meet at Nuuk and in that way build networks and collaborations that we see as very valuable, says Dine Arnannquaq Fenger Lynge.

 

Nuuk Nordic Talk Stage
Nuuk Nordic is Greenland’s largest culture and art festival, which is held every other year. Dáiddadállu is involved in arranging the conversation arena NNK Talk Stage where artists, researchers and others meet. The program under «EadnámetMaid – NunarputAamma- The LandToo » includes conversations, posts, artistic performances and film screenings. – This will be incredibly exciting, says Lynge.

 

Program
Nuuk Nordic Culture Festival opens next Thursday 28.10 and lasts until 31.10:

 

EadnámetMaid 28.10

12:35 

  • Presentation of Dáiddadállu by Dine Arnannguaq Fenger Lynge  
  • Presentation of EadnámetMaid by producer Maren Benedicte Nystad Storslett 
  • Digital greetings from Mari Boine 
  • Digital greetings from Silje Karine Muotka, president of Sámi Parliament in Norway
  • KlimaTerra by Anitta Suikkari and Hilde Skancke Pedersen- An artistisk walkthrough 

13:40

  • Screening of Ealát by Elle Márjá Eira  
  • Q&A with Elle Márjá Eira and Ánne Kátjá Gaup

14:25 De språkløse

15:00 EadnámetMaid:
Violence and abuse against nature. How does it affect mental health, especially in indigenous societies?

  • Marit Anne Sara: Pile O Sápmi presentation
  • Sunna Nousuniemi: Screening: “Gáidat/Máhccat”
  • Talk between artists Máret Ánne Sara, Sunna Nousuniemi, Dine Arnannguaq Fenger Lynge, Ivinnguaq Storck Høegh. 

Friday 29th October Reflecting NNK
14:15  Sculptures Elle Márjá Eira, Jeannette Ehlers, Lill Frederiksen Chemnitz Moderated by Mathias Danbolt 

 

Saturday 30th October Reflecting NNK
13:15 – 14:00 Self organization/Self-determintation in cultural programs

  • Dine Arnannguaq Fenger Lynge, Dáiddadállu
  • Jonas Nilsson, Nuuk Nordisk 
  • Moderatorated by Sandra Marja West, RidduRiddu 

 

15:15 -16:30 MÁZE AND MÁZEJOAVKU 
Presentation of Susanne Hætta 
Talk between Hans Ragnar Mathisen, Jessie Kleeman, Susanne Hætta, Joar Nango 
Screening of Dál lea doarvái / Nok er nok / Enough is enough by Gunilla Bresky and Ken Are Bongo

 

EadnámetMaid’ is conceived and organised by Dáiddadállu, with the support and collaboration of the Sámi Parliament in Norway and the Office for Contemporary Art Norway (OCA) , and is a continuation of their long-term engagement with the town of Máze, iconic in recent Sámi political history, and its advocacy for the establishment of an international Indigenous artist residency there. Saturday 30.october 15:15 -16:30 (11:15 – 12:10 Norwegian time) Susanne Hætta will highlight the long term engagement with a digital presentation of the book Mázejoavku  and having a talk with Hans Ragnar Mathisen,Jessie Kleeman and moderated by Joar Nango Following by screening of the film of Mázejoavku Dál lea doarvái / Nok er nok / enough is enough by Gunilla Bresky.

 

EadnámetMaid is funded by Sametinget, Office for Contemporary Art Norway, Norsk Kulturråd, Nordisk Kulturfond, Fritt Ord, KORO (Kunst i offentlig rom), Nordnorsk Kunstnersenter and Troms og Finnmark Fylkeskommune.

 

Del dette

Share This Post

[ssba]

Áhkkut ráhkadan filmma áhku birra / Barnebarn bak kamera på kortfilm om Karen Anna Logje Gaup

06-10-2021

(Bla ned for norsk)

 Dáiddadállu iluin bovde erenoamáš čájáhussii «Buot iežan bohccuid dovddan/Karen Anna ja su siida 1986-2020» mas lea dáiddárguoimmi Ánne Kátjá Gaupa vuosttaš oanehisfilmma ja Grete Andrea Kvaala govat mat lea govvejuvvon 30 jagi áigi.


Govven: Grete Andrea Kvaal

 

Áhkošguovtto oktavuohta lei dehálaš bargui
Ánne Kátjá lea govvejeaddji ja filbmadahkki, ja bargá maiddái Dáiddadálus. Son lea ovttas filbmarešisevrrain Grete Andrea Kvaalain ráhkadan oanehisfilmma mii dál viimmat ja stuora iluin čájehuvvo dáppe Guovdageainnus.  Kvaal lea govvejeaddji ja filbmadahkki.  1980-logus loahpas son čuvvodii Ánne Kátjá áhku, Árdnen Niillasa Karen Anna ja su siidda, govvendihte sin árgabeaivvi boazodoalus.

Čájáhusas leat Kvaala govat jagiin 1986-1993 Karen Anna ja su siida prošeavttas, ja oanehisfilbma filbmejuvvon 2020:s. Fárrolaga filbma ja govat dievasmahttet áigegova mii čájeha kultuvrra rievdama, dokumenteren mii sáhttá šaddat divrrasin maŋit áigái. 

 

 Golbma jagi áigi oahpásmuvai Grete Ánne Kátjáin ja jearai eaba go soai ráhkat filmma Karen Anna birra:

 

– Lea somá ovttasbargat Ánne Kátjáin. Vaikko letne goabbat buolvvas ja kultuvrrain bajasšaddan, de fuomášeimme dávjá ahte goitge jurddašeimme seammaladje filmma dáfus ja ovttasráđiid barggaime filmma ovdanemiin. Son leage maid čájáhusa váldoolbmo áhkkut, ja lei maid studeantan TV-skuvllas.  Nu šattai ge lunddolaš Ánne Kátjá jearrat ovttasbargoguoibmin. Ánne Kátjá máhttu filbmamáilmmi birra ja su oktavuohta Karen Annain attii oadjebasvuođa mii lei deŧalaš bargui. Šaddá maid somá Guovdageidnui fas vuolgit. Mu govat eai leat čájehuvvon doppe loahpa 1980-logu rájes, muitala Kvaal. 

 

 Illuda buktit čájáhusa ruoktot
Filbma ja govvačájáhus lea jagi johttán Davvi-Norggas, ja viimmat boahtá Ánne Kátjá ruovttubáikái. Son illuda čájehit filmma gili olbmuide:

– Lean nu ilus go Dáiddadállu lea bovden munno čájáhusa Guovdageidnui. Dáiddadálu bokte mis dáidda – ja kreatiiva bargiin lea fágalaš orgána ja birás mii bargá earret eará ruhttademiin, plánemiin ja čađáhemiin. Lea maid hui somá leat dán prošeavttas. Vuosttažettiin lei hui earenoamaš filbmet iežan áhku gii lea nu divrras munnje ja maid mu ovdagovva. Dasto bargat Gretiin ja su čájáhusain mas leat govat mu bearrašis ja orohagas. Gal Grete lei ruovdi mii čuvvodii áhku ja min siidda boazobargguid birra jagi, máŋga jagi! Son lea bargan máilmme deŧalaš barggu dokumenteret boazosápmelaččaid ja boazodoalu, ja mun lean hui rámis go beasan suinna bargat, muitala Ánne Kátjá. 

Govvejeaddji guovttos Ánne Kátjá Gaup ja Grete Andrea Kvaal. Govva: Ánne Kátjá Gaup 

 

Čájáhusrahpan
Čájáhus rahppasa Diehtosiiddas ja Guovdageainnu gilišilljus 15.10.21. Prográmma: 

Bearjadaga 15.10:
Dii. 18: Govvačájáhus rahpan Guovdageainnu gilišilljus 

Dii. 19:30: Filbmačájáhus Diehtosiiddas ja ságastallan

 

Bures boahtin! 

 

 

(NO)

Dáiddadállu inviterer gledelig til utstillingen Alle mine rein kjenner jeg/Karen Anna og hennes siida 1986-2020 med kunstnerpartner Ánne Kátjá Gaups første kortfilm og Grete Andrea Kvaals fotoutstilling som er blitt fotografert for over 30 år siden. 

 


Karen Anna Logje Gaup. Foto: Grete Andrea Kvaal

Kunstnerpartner Ánne Kátjá Gaup er fotograf og filmskaper, og jobber også i Dáiddadállu. Hun har sammen med filmregissør Grete Andrea Kvaal laget kortfilmen Alle mine rein kjenner jeg som nå vises i Kautokeino. Kvaal er også fotograf og filmskaper. I slutten av 1980-tallet har hun fotografert Ánne Kátjás farmor, Karen Anna Logje Gaup, og hennes siida.

Utstillingen består av filmen fra 2020 og Kvaals bilder fra over 30 år siden.  Slik knyttes fortid og nåtid knyttes sammen. Både filmen og fotografiene er en dokumentasjon av en kultur i sterk endring, og som vil kunne bety noe for ettertiden.

 

Tre år siden ble Grete Andrea kjent med Ánne Kátjá og et spennende samarbeid ble etablert:

– Det har vært en glede å samarbeide med Ánne Kátjá. På tross av en stor aldersforskjell og ulik kulturell bakgrunn, oppdaget vi ofte at vi tenkte likt, og hadde en felles forståelse av hvordan fremdriften skulle være. Vi utfylte hverandre i kunnskap og erfaring, noe som var en berikelse for samarbeidet.   Som barnebarnet til hovedpersonen, Karen Anna, og student på TV-skolen i 2018 var det  naturlig å spørre henne om å være samarbeidspartner. Ánne Kátjás kunnskap om film og hennes relasjon til Karen Anna, betød en trygghet som var viktig for samarbeidet mellom oss tre. Det vil dessuten være spennende å komme tilbake til Kautokeino med bilder tatt for en generasjon siden. Sist noen av bildene var utstilt der var på slutten av 1980-tallet, forteller Kvaal. 

 

 Gleder seg til å vise utstillingen i hjembygda
Filmen og utstillingen har det siste året vandret i Nord-Norge, og endelig kommer vises utstillingen i Ánne Kátjás hjemplass. Hun gleder seg til å vise filmen og utstillingen i Kautokeino:

– Jeg er glad for at Dáiddadállu har invitert oss og vår utstilling til Kautokeino. Via Dáiddadállu har vi et faglig organ og miljø som jobber med blant annet finansiering,  planlegging- og gjennomføring av prosjekter. Det er også veldig morsomt å ta del i dette prosjektet. Først og fremst var det spesielt å filme min egen farmor som er så utrolig dyrebar for meg, og som også er mitt forbilde. Dernest å jobbe med Grete og hennes utstilling med bilder av min egen familie og reinbeitedistrikt. Jeg synes Grete er råtøff som fulgte bestemor og vår siidas arbeid i reindrifta året rundt – i mange år! Hun har gjort en utrolig viktig jobb med å dokumentere reindriftssamer og reindrift, og jeg er stolt over å få jobbe med henne, forteller Ánne Kátjá.


Kunstnerduoen Ánne Kátjá Gaup og Grete Andrea Kvaal. Foto: Ánne Kátjá Gaup

 

Utstillingsåpning
Utstillingen og kortfilmen åpnes på Diehtosiida og Kautokeino bygdetun 15. oktober kl. 18. Program:

Fredag 15.10
kl. 18: Utstillingsåpning på Kautokeino bygdetun

kl. 19:30 Filmvisning på Diehtosiida kl. 19:30 med artisttalk 

 

Velkommen! 

Del dette

Share This Post

[ssba]
© 2022 Daiddadallu
Site Dsign: PTP