Beauty and Truth by Orkana

Index 4

Preface

Hanna Horsberg Hansen, Irene Snarby, Leif Magne Tangen, Tone Tingvoll

Hanna Horsberg Hansen

9 16

Beauty And Truth Dialogues between Sami art and art Historical research Interactions of Art, Self and World Duodji as Sami experiences in contemporary art Jaskadit jorrá jurdda / Stille vender tanken (Silently the thought turns) by Iver Jåks

Exhibition views

List of works and reference works

36 40

78 82

Change / Molsun My way to Iešvuođat ja iešdovddut II / Iešvuođat ja iešdovddut II mátki Writing in snow / Muohttagis čállime Why look to animals? / Manin elliide geahččat? Crackled / Ráhkan Idarii guokte seainni / Joar Nango jearahallan Leif Magne Tangen bokte I blush / Ruvssodan “…more like a poem…” / “…eanet dego dikta…” People ask where I live / My reply is that I live in many places / My home is where I am / Olbmot jerret gos mun orun / Mun vástidan ahte orun máŋgga sajis / Mu ruoktu lea doppe gos mun lean Resonant meeting / Deaivvadeapmi dávistemiin A moment in time / Áiggis oanebodda

Other publications from SARP

44 50 56 60 68 72 74

Tone Kristine Thørring Tingvoll Irene Snarby

Aage Gaup Gunvor Guttorm Geir Tore Holm Aslaug Juliussen Britta Marakatt-Labba Two walls for Idar / Joar Nango interviewed by Leif Magne Tangen Sara Margrete Oskal Synnøve Persen Lena Stenberg

Kristin Tårnesvik Stein Erik Wouthi

Art was one of several markers supposed to identify a Sami nation and its people at the beginning of the Sami ethno-political movement in the 1970s. One problem, however, was the scarcity of literature about Sami art. Until the 1970s, research into Sami culture had been primarily ethnographical and linguistic.10 Consequently, texts about Sami art are strongly influenced by an ethnographic approach that tends to reuse and recycle conceptions of Sami art as either primitive, exotic, or as a hybrid of tradition and modernity.11 The problem with this labelling or periodisation is that it leaves very limited space for understanding and interpreting Sami art. Beauty and Truth is meant to discover reality, rather than to describe, abbreviate or imitate it. The new artworks presented in Beauty and Truth are in a variety of medias. There are paintings, installations, texts, historical objects, and sound. The contextualisations range from texts by Sami authors, via abstract painting to contemporary visual art in Argentina. The connections between the artists’ contemporary work and their own contextualisation of it creates a rhizomaticlike structure concerning time and space12. Disconnections and ruptures, rather than linearity or historical developments occur. This rhizomatic structure or lack of structure points in turn to the fact that Sami art can be anything, but still – anything cannot be Sami art.

10 Lars Ivar Hansen and Bjørnar Olsen. 2004. Samenes historie fram til 1750. Oslo: Cappelen Akademisk Forlag, p. 9. 11 For a further elaboration on the discourse, see Hanna H. Hansen. 2007. Fortellinger om samisk samtidskunst. Karasjok: Davvi Girji, pp. 38—44. 12 The concept rhizomatic refers to Gilles Deleuze and Félix Guattari’s use of this metaphor as a model for thinking differently from the metaphor of a tree with roots, stems and branches. A rhizome is horizontal, decentred and multiple. See Gilles Deleuze and Félix Guattari. 1980. “Introduction: Rhizome” in Capitalisme et schizophrénie 2: Mille Plateaux. Paris: Les Éditions Minuit, pp. 9—37.

References

Tone Kristine Thørring Tingvoll

Belting, Hans. 2003. Art History after Modernism. Chicago and London: The University of Chicago Press. Cassirer, Ernst. 1974 [1944]. An essay on man: An introduction to a philosophy of human culture. New Haven and London: Yale University Press. Elkins, James. 2002. Stories of Art. New York: Routledge. Fett, Harry. 1940. “Finnmarksviddens kunst: Jon Andreas Savio”. Kunst og kultur, nr. 6. pp. 122—246. Hansen, Hanna Horsberg. 2007. Fortellinger om samisk samtidskunst. Karasjok: Davvi Girji. Hansen, Hanna Horsberg. 2010. Fluktlinjer: Forståelser av samisk samtidskunst. PhD thesis, University of Tromsø. Hansen, Lars Ivar and Bjørnar Olsen. 2004. Samenes historie fram til 1750. Oslo: Cappelen Akademisk Forlag. Parker, Rosita and Griselda Pollock. 1981. Old Mistresses: Women, Art and Ideology. London: Harper Collins. Smith, Linda Tuhiwai. 2004. Decolonizing Methodologies: Research and Indigenous Peoples. London and New York: Zed Books. Smith, Terry. 2006. “World Picturing in Contemporary Art: Icono graphical Turning”. Australia and New Zealand Journal of Art. Vol.7 no 1. http:// www.terryesmith.net / texts /TS_IconogeographicTurning.pdf Tsing, Anna Lowenhaupt. 2005. Friction: An Ethnography of Global Connection. Princeton: Princeton University Press. Turner, Dale. 2006. This is Not a Piece Pipe: Towards a Critical Indigenous Philosophy. Toronto, Buffalo and London: University of Toronto Press.

Interactions of Art, Self and World The long standing inclination to explain works of Sami artists as representations of cultural and ethnical identities, has left little room for reflection on the nature of the aesthetic experience as directed by the works of art themselves. However relevant to the current attempts to define the characteristics of contemporary Sami art, politics of identity cannot be confined to the artist as creator. When particular works of art are encountered as meaningful, a creative act implying interactions of art, subjective and inter subjective understandings of self and world has also been performed by a beholder. In accordance with this argument, the relation between art and various forms of politics are still highly relevant. The dynamic aspects of the particular work of art are neither fully in the control of the artist nor the beholder, however preceding intentions. The hypothesis guiding this article is that if perceived as enacting a politic or rhetoric of its own, the work of art may be disclosed to function not as a delegate, but as an interlocutor open to any interested beholder. The following discussion on Lena Stenberg’s installations Lávvu (2004) and Bivduolbmái lávvu (2011) is thereby directed as an alternative approach to her art.1 Motivated by aesthetic philosophy and critical art historical theory, it is simultaneously an attempt to reframe the question of the relation between art and politics of power, as it has often appeared in the discourse on Sami art. Art as symbolic form and rhetorical field Thinking with the writings of Ernst Cassirer (1874—1945) and his theory of symbolic forms, art is perceivable as a dynamic and formative force in the contemporary production of knowledge. This positive, dynamic and relational notion of aesthetic difference evolves from the status given to art in his philosophy of culture.2 Cassirer takes issue with

a phenomenology of knowledge that takes representation and signification as its starting point. In his comments to the Hegelian ladder, this aspect is taken as a sign of mistrust in the deeper level of expression and perception (Ausdruckswahrnehmen).3 Ernst Cassirer’s conception of symbolic forms is precisely motivated by what he sees as the joint failure of Kant and Hegel to overcome the traditional dualism of subject and object.4 To him, the particularity of the work of art discloses how the idea of the subject imbuing the object with meaning is too simple. The work of art cannot be reduced to an object to be explained or abstracted as inherently meaningful. As an animale symbolicum, the subject artist or beholder is always already creative and inter subjectively engaged in the constitution of meaning of self and world. As A

1 The original lavvu is a Sami tent that functions as a mobile home. Bivduolbmái lávvu is a Swedish Sami title that may be translated to mean the tent of Man as hunter. For more on the arguments of the discourse, see Jan Erik Lundström. 2004 (A). ”Being Sami”. Same same but different. Exhibition catalogue. Umeå: Bildmuseet, University of Umeå. 2 As pointed by Aud Sissel Hoel, 2011, this positive definition might serve to nuance the habitual thinking that refers art to mimetic representation. See “Thinking ‘difference’ differently: Cassirer versus Derrida on symbolic mediation”. Synthese. 179, pp. 75—91, p. 81. 3 See also Hoel 2002 on Cassirer’s critique of the photographic model of perception in her article “Cassirer’s Dynamic Conception of Form”. In Gunnar Foss and Eivind Kasa (eds.). Forms of Knowledge and Sensibility: Ernst Cassirer and the Human Sciences. Kulturstudier Nr. 23. Kristiansand and Bergen: Høyskoleforlaget, pp. 183—207. 4 Cassirer’s conception of culture is, however, related to his contact with i.e. A.Warburg, F. Saxl, E.Panofsky, and W. Wind.

List of works and reference works → The referance works can be seen on: www.tkf-sarp.no

Aage Gaup Molsun / Change, 2014 Plywood, textile, footwear and light 233 × 76 × 76 cm © Aage Gaup / BONO 2014

→ René Magritte. La réponse imprévue / The Unexpected Answer, 1933. Oil on canvas. 81 × 54 cm. Musées Royaux des Beaux Arts de Belguique, Brussels.

Gunvor Guttorm Iešvuođat ja iešdovddut II / Properties and Identities II , 2014 Glass, textiles, wood and animal bone → Diane Reyna, The Crossing, 2008. Sandstone, red willow, and steel. 65 × 35 cm. Photo: Addison Doty.

Geir Tore Holm Sunrise, Øvre Ringstad farm, 1 May 2014, 2014 / Soloppgang, Øvre Ringstad, 1. mai 2014, 2014 C-print 46 × 60 cm Muohttagis čállime / Vi skriver i snøen / Writing in Snow, 2014 Digital file. 11 minutes long, surround sound both works: © Geir Tore Holm / BONO 2014 → Inger og Paulus Utsi. 1980. Min eallin. Published in Giela gielain: divttat=dikter. Luleju / Luleå → Inger og Paulus Utsi. 1996. Our life. Translated by Harald Gaski in Harald Gaski (ed.). In the Shadow of the Midnight Sun: Contemporary Sami Prose and Poetry. Karasjok: Davvi Girji.

Aslaug Juliussen Multiple Stitches – Sight in sewing, 2014 Texiles, metal, reindeer bone and horse hair 180 × 90 × 90 cm © Aslaug Juliussen / BONO 2014 → Nicola Constantino. Winged Nicola inspired by Bacon. 2010. Inkjet print. 173 × 135 cm. → Francis Bacon by John Deakin for Vogue. Silverprint. 1962. → Sandro Botticelli. Nascita de Venere (The birth of Venus / Venusa riegádeapmi). 1486. Tempera on canvas. 172,5 × 278,9 cm. Uffizi Gallery, Florence.

Britta Marakatt-Labba Crackled / Krackelerat / Ráhkan, 2014 Textile, wood and archival inkjet print 110 × 200 cm © Britta Marakatt Labba / BONO 2014 → Katarina Pirak Sikku. Decolonisation, 2009. Photography.

Joar Nango Two walls for Idar / Idarii guokte seainni, 2014 Walls, film, Idar Ingebrigtsen’s studio and inventory

Sara Margrethe Oskal & Matyas Le Brun By The Coast, 2014 C-print with image and poem 60 × 90 cm You don’t feel, 2014 C-print with image and poem 60 × 90 cm Gentle breeze, 2014 C-print with image and poem 60 × 90 cm The bent hook, 2014 C-print with image and poem 60 × 90 cm → Iver Jåks. Kvinnene / Nissonat / The Women, 1971. Wood cut. 44 × 54 cm. RDM -Sámiid Vuorká-Dávvirat (RDM - De Samiske Samlinger / RDM The Sámi Museum). → Iver Jåks. Min Kravfulle Sanselighet III / Mu garra himut III / My demanding sensuality III, 1981. Coal and pencil on paper. 19,2 × 14,0 cm. Nordnorsk Kunstmuseum (Davvi Norgga Dáiddamusea, The Art Museum of Northern Norway). → Iver Jåks. Min Kravfulle Sanselighet VI / Mu garra himut VI / My demanding sensuality VI, 1981. Pencil on paper. 14 × 18 cm. → Iver Jåks. Min Kravfulle Sanselighet II / Mu garra himut II / My demanding sensuality II, 1981. Pencil on paper. 15 × 22 cm. Kunst i offentlige rom – Public Art Norway (KORO)

Synnøve Persen

Kristin Tårnesvik

Adjustet movements I, 2014 Framed graphic print 158 × 93 cm

→ Joan Mitchell, Sans Pierre, 1969. Oil on canvas. 260,4 × 199,4 cm. Collection of Robert Lehrman.

Adjustet movements II, 2014 Framed graphic print 158 × 93 cm Adjustet movements III, 2014 Framed graphic print 158 × 90 cm

Lena Stenberg Mobility / Mobilitet, 2014 Wood, painting 350 × 314 cm © Lena Stenberg / BONO 2014 → Nils Aslak Valkeapää. 1985. Ruoktu váimmus. Kautokeino: DAT → Nils Aslak Valkeapää. 1987. Viddorna inom mig. Translated by Mia Berner, John E. Utsi, Kristina Utsi. Kautokeino: DAT. → Nils Aslak Valkeapää. 1994. Trekways of the wind. Translated by Ralph Salisbury, Lars Nordström, Harald Gaski. Kautokeino: DAT.

Adjusted movements, fanzines, Volume 1 (12 issues), 2014 Xerox copied unique fanzines from original drawings → Matti Aikio. 1906. I dyreskind: Fortelling fra Finmarken. Kristiania: Aschehoug.

Stein Erik Wouthi A moment in time, 2014 Polycarbonat, duck tape and aluminium frame 120 × 60 cm Vitality, 2014 Polycarbonat, duck tape and aluminium frame 81 × 53 cm → Time.

→ The studio of the late painter Idar Ingebrigtsen. Eka og Idar Ingebrigtsens Stiftelse

Aage Gaup Aage Gaup

Change About living in two different worlds. About leaving and entering two different worlds, and changing one’s skin both physically and mentally I have chosen a work by René Magritte, La réponse imprévue (The unexptected answer) from 1933 as a reference and starting point for my installation entitled Skifte (Change). My interpretation of Magritte‘s work is that it depicts a sleepwalker who recklessly walks right through a closed door, from a brightly lit room into a dark nothingness. It struck me that Magritte‘s work could help me to visualise my idea for a change. In Magritte‘s painting there is only one door, while my installation needs two doors; one at each side of a changing closet , where the person concerned enters through one door as a Sami person and goes out of the other

as a non-Sami person, visualised by the difference in the human outlines in the doors. The size of the closet between the two doors in my work will be similar to that of a shop’s changing room. The space between the doors becomes the PRESENT, which will follow us throughout our lives.

Aage Gaup

Molsun Eallit guovtti máilmmis. Sirddašit guovtti máilmmi gaskkas, ja molsut fysalaš ja psyhkalaš hámi. Mun válljejin René Magritte dáidaga La réponse imprévue, (The unexpected answer), 1933, vuođđun ja vuolggasadjin go ieš ráhkadin riggehaga maid gohčodan Molsun. Magritte duojis mun oainnán olbmo gii oađidettiin manná giddejuvvon uvssa čađa, vuolgá hui čuvges lanjas ja manná sevdnjes guorosvuhtii. Mun fuomášin ahte Magritte dáidda lea munnje ávkin go mun visualiseren iežan “molsun”jurdaga. Magritte dáidagis lea okta uksa, ja mu riggehat dárbbaša guokte uvssa; goabbat geahčái molsunlanjas, ja olmmoš manná sisa nuppi uvssas sápmelažžan ja boahtá olggos nuppi uvssas ii- sápmelažžan. Dán erohusa mun čájehan oinnolaččat go dán guovtti uvssas lea goabbatlágan persovdnaneahku. Lanjaš uvssaid gaskkas lea seammá stuoris go bivttasgeahččalanlanjaš gávppis. Latnja uvssaid gaskkas lea dat mii lea DÁL, mii čuovvu min nu guhká go mii eallit.

Molsun / Change

Aage Gaup

Molsun / Change