2019 mark the fact that it was 100 years since the start of forced displacement of Sami people in Karusuando to the county Västerbotten. The art work “Those who came Those who welcomed” brings forth the moment when Norrbottesamer met “Sydsamer” from the Tärna region in the spring of 1931, and was presented reindeer herding grounds in Umbyn and Vapsen, which was allocated as their new place of residence. This was a moment in history that started a chain of events transformative for all Sami involved, incurred by a state which stayed unconcerned of its consequences.
The images are encapsulated in glass and crystal, photos of families whose lives was uprooted, and who formed new communities. The artwork brings forth those who moved and those who was there earlier and forced to share their reindeer pasture, thus transformed living conditions for both parties. The wounds that still have not healed in either camp or reconciliation is not eminent. In this work, Tomas infuse the people effected in the earlier phase of displacements into crystal. A rock that in Sami mythology was treated with magic properties. “Those who came Those who welcomed” immortalises a moment and strives to heal the wounds.
In Granö, Matti will leave his indigenous trace through conversations with friends. A conversation that reflections on questions such as: What is indigenous? What relations does indigenous people have to traces? What is a trace? What is time?
Time is cyclical for indigenous people. The linear perception of time is necessarily unbiased, nor is the meaning of life. The universe is filled with traces. Our planet as well. Some traces fade away in seconds, other stay for millions or billions of years. Traces in the snow disappear faster that the time it takes for the ray of lights to reach earth. And when looking up into the sky in the night we see stars that might have been dead for long.
Based on the story of the life and death of Spå-Klemmet, Louise will create and installation. The Sami and Sheperd Klemmet Andersson from Tegsnäset in Vindeln was born in 1750. According to the myth, he was skilled in the Sami art of fortunetelling and brave bear hunter. It is said that he had the ability to protect himself agains firearms and the metal led, in light of the traditional ‘Nåjden’ and schamanism. Few traces remains of Spå-Klemmet in Vindeln, only the myth has survived and been annotated by people settled in the area and displaced Sami people. Perisak Jusso is the mentor of Louise.
The women, Meqqu, a shaman, from small community in western Greenland, is assigned to the journey of her life out in the wide world. Her task is to bring back the lost soul of a young man. Journey turns awry and suddenly the time is 1978 and she finds herself in Danish prison cell. In the same cell, a young man awakens.
This artwork is a deeply personal story about failure in life, again and again become the victim of oneself and circumstances. And still rising up, move on and lead the life one is supposed live. The work is fiction, inspired from Elisabeths real life experiences and generational encounters of Greenland in past times and today. The Drifter is a dance performance in a set design and atmosphere created by light.
The work of Britta is based on humanity and how she managed nature’s wealth. The material used in her artwork is from nature and taken care of nature, as sustainability has always been a corner stone in Sami culture. The artwork presented by Britta is sculptures in stone and wood. The timbre originates from a “Norrbottengård” in Övre Soppero, the stones are from fire places, on which the heads of the sculpture are three Sami goddesses; Uksahkka, Sárahkka and Juksahkka. Britta’s sculpture twines Sami culture with the culture of “Tornedalingar”, a national minority residing in along Torneälv, who hosted as well as traded with Sami people along the migration paths of their reindeers.
The Lavvu created by Lean returns the Sami presence as an ancient Sami settlement where Granö is located today. Lena have worked with the Lavvu shape, previously in wood and textile. In Granö, the shape will explore traditions where the Lavvu will resemble more of the lasso. Traditionally, the Lavvu was living quarters, today more used occasionally and more during summer or fall. Lena saw that the Lavvu was mostly used when marking the reindeer calves. The lavvu and the lasso is thus closely interlinked. The artwork will be a colorful coil that will form the occasional settlement.
Returning to Japan from Granö, after his first visit, a tree and a lake from the village revealed itself in the dreams of Koji Yuki. Out of dreams and experiences from the residency in Granö, his artistic ideas started to take shape. The trace Koji-san will leave in the village can only be understood when the two figures, the Tree deeply rooted in nature and the Reflections on the surface of the lake, express its unapproachable linkage. Koji-san artistry expresses and preserves Ainu mythologies left by Ainu ancestors. Mythologies that transcend humanity and nature.
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