Ásthildur Jónsdóttir, Iceland Introduction
Nadia Jackinsky-Sethi, A Journey to What Matters: Increased Alaska Native Art & Culture
Through the A Journey to What Matters Increased Alaska Native ART & Culture (JWM) program The CIRI Foundation partners with tribal organizations and museums in Alaska to develop community-based arts programs and projects that support Alaska Native curatorial interventions in museums. This presentation will share information about the successes of the JWM program including efforts to revitalize and document distinctive Alaska Native art traditions, while growing Alaska's indigenous arts leadership in rural communities.
Nadia Jackinsky-Sethi is an art historian, museum consultant and program officer whose research focuses on the revival of Alaska Native arts. She is based in Homer, Alaska and is an independent scholar.
Osmo Pekonen, François-Auguste Biard (1799-1882), a pioneer of Arctic painting
François-Auguste Biard (1799-1882) was a painter of the French Navy who kept dreaming about exotic countries and distant shores. He first visited the Levant, painting scenes in an Orientalistic mood, then turned his attention to the Arctic. Even before having visited any Northern country, he painted imaginary scenes with polar bears and walruses. In 1839 he got an opportunity to visit Northern Norway, the Bear Island and Svalbard aboard La Recherche, a corvette of the French Navy exploring the Arctic Ocean. On his return journey, in September 1839, he crossed Lapland following a trail from Hammerfest to Tornio. He was the first internationally renowned artist to produce ethnographically accurate pictures of the Sámi. Louis Philippe, the King of the French who ruled 1830-1848, had followed the same route as a young Duke of Orléans 44 years earlier while fleeing the French revolution. Therefore, the King had commissioned from Biard paintings illustrating his youthful adventures in Lapland. The resulting large canvases, nowadays preserved in Versailles, were on display in a major exhibition devoted to Biard in Rovaniemi in 2017. A touch of Orientalism can be detected even in his Lapland paintings.
Osmo Pekonen, Ph.D., D.Soc.Sci,, born in 1960, is a Docent of Cultural History at the University of Lapland. He has published numerous papers and books (in Finnish, Swedish, French, and English) on the early explorers of Lapland such as Olaus Magnus (in Lapland in 1519), Jean-François Regnard (1681), Pierre Louis Moreau de Maupertuis (1736-1737), the Duke of Orléans (1795), Sir Arthur de Capell Brooke (1820), Xavier Marmier (1838 & 1839), François-Auguste Biard (1839) and Prince Roland Bonaparte (1884). Osmo Pekonen is a corresponding member of four French academies: Académie des sciences, arts et belles-lettres de Caen (founded in 1652), Académie des sciences, belles-lettres et arts de Besançon et de Franche-Comté (founded in 1752), Académie d'Orléans (founded in 1809) and Académie européenne des sciences, des arts et des lettres (founded in 1979). In 2012, he was awarded the Prix Chaix d'Est-Ange of the Académie des sciences morales et politiques in the field of history. His total publishing record includes 39 books and 800+ papers (including the non-refereed ones), many of them on Arctic topics.
14:15-14:30 Questions and discussions
Paul Landon, Lost in the Barrens: The Northern Landscape as a Cinema of Nowhere
In 1970 the Canadian visual artist and filmmaker Michael Snow shot La Région Centrale on a hilltop in a remote location in northern Québec. Snow chose to film in a treeless barren landscape to realise a classic of experimental cinema, a choreography of earth and sky, what the critic Dominique Noguez would refer to as a « A powerfully elaborated celebration of a universe without man. » La Région Centrale is a keywork in a larger practice of moving image art that makes use of the northern landscape as a site devoid of meaning, a modern reverie seemingly unmarked by history and existing beyond the constraints of language and intent.
Paul Landon is a professor at the École des arts visuels et médiatiques of UQÀM. Landon graduated from NSCAD in Canada in 1984. He completed a graduate programme the Jan van Eyck Academie in The Netherlands in 1989. In 2016, Landon was awarded a Doctorate in Fine Arts from the University of the Arts Helsinki. Landon is a visual and media artist who explores landscape and built space using experimental processes of mediatisation. His work is structured through the uncompromising physicality of modern architecture and landscape. Landon is a founding member of the Hexagram institute for art and media and has collaborated in the research project Nouvelles formes narratives et création audio-vidéo and in the Elastic Spaces research group.
Valgerður Hauksdóttir, Health and environmentally safer methods in visual arts with focus on non-toxic printmaking
This research covers a broad area focusing on health and environmentally safer methods in visual arts with emphasis on fine art printmaking where there is a long history of using toxic methods and materials in the process. Artists have died as a result of using unsafe materials when creating artworks. Knowledge has been forthcoming regarding what dangers are to be avoided, not just for the health of artists but for the environment as well. Despite growing awareness regarding the use of safer methods amongst artists and educators of art the access to new information and application of new knowledge is both confusing and inconsistent. This research analyses the safety of the traditionally applied methods for health and the environment and to what degree the ‘non-toxic’- categorized methods are safer. The aim is to explore possibilities and find improved solutions both on an individual level and in the social context. It is important not to die because of your art and it is our responsibility to teach safe methods in fine art. This is critical for the education of students of all age groups and levels studying creative arts, and for the practicing artists.
Valgerdur Hauksdottir holds an MFA degree in fine art printmaking and has been professionally active as an artist/printmaker and educator of printmaking for over 30 years. She is the founder and director of the organization VIA-art Ltd. (www.via-art.com), focusing on research in non-toxic and sustainable methods in fine art printmaking. Previous engagements include serving as the Head of Printmaking and Vice Principle of the Icelandic College of Arts and Crafts (now the Visual Art Department at the Iceland Art Academy). Hauksdottir has been a guest lecturer/artist at several art institutions in the past, the latest one as a visiting professor in printmaking at the University of Indiana, Bloomington. Hauksdottir’s works have been exhibited widely and received international recognition.
Pia Lindman, Subsensorial and cultural heritage
The artistic and doctoral research by Pia Lindman navigates the complex and intersecting pathways of Finnish oral tradition (sometimes titled Kalevala), the recent establishment of a bone setting technique and teaching based on Finnish oral tradition and titled "Kalevalainen jäsenkorjaus", and finally, Lindman's personal performance art practice of healing and painting (while also a student of "Kalevalainen jäsenkorjaus"). In this paper, while cognizant of living cultures in process, Lindman poses critical questions regarding politically and/or economically motivated erasures of cultures and traditions. Finally she asks what art can or should do?
From 2013 to 2018 (August), Professor of Environmental Art at Aalto University Pia Lindman received her second Master degree at Massachusetts Institute of Technology, U.S.A. in 1999. After ten years of residing in New York, a professorship at Yale University School of Art, and a research fellowship at M.I.T., she now builds an eco-village in Fagervik, Finland. In 2011, Lindman was commissioned to create “Poison and Play” and exhibition at Haus der Kulturen der Welt in Berlin. Residencies include “Field_Notes/Deep_Time” at the Biological Reserach Station in Kilpisjärvi, Lapland, hosted by Bioartsociety. Lindman’s latest art project, “Nose Ears Eyes”, was commissioned by the 32nd Sao Paulo Biennale, Incerteza Viva (2016). Starting August 2017, Lindman is doctoral candidate at Lapland University, with research-in-progress titled: The Subsensorial, Between Organisms, Consciousness, and Matter. A result of many years of investigation into the body and its place within the cultural space, Lindman's work responds to a contemporary desire to mend the fission between science and art, healing and creativity – and moves beyond the human body proper to multiple realms of life.
15:15-15:30 Questions and discussions
George Steinmann-Laakso, Symbioses of Responsibility SYMBIOSES OF RESPONSIBILITY
An artistic research project on Climate Change by George Steinmann, Artist. The project serves as a BRIDGE between Art, Science and Indigenous Knowledge. It is based on the artists official governmental mandates at the UN Climate Summits COP21 in Paris, COP 23 in Bonn and the POLAR 2018 Climate Conference.
Climate protection is a public topic and a public asset. To be able to adapt to the consequences of Climate Change , we require an open discours, a participatory planning, integrative approaches and an awareness that adapts to the changing paradigms. It is imperative to collaborate at all levels. Many adaptation and mitigation options can help address Climate Change, but no single option is sufficient by itself. Effective implementation depends on policies and cooperation at all scales, including the Arts and Indigenous Knowledge. A paradigm shift towards a sustainable society is not possible without the form of knowledge art provides. Art is a driving force with which the world in its context can be perceived and respected.
Dr.h.c. Born 1950 Bern, Switzerland. Visual Artist, Musician and Researcher. Studied Painting in Basel, and Painting, Sound and Afro-American History (with Angela Davis) at the San Francisco Art Institute. Lived in Finland 1970-75. His artistic practice is research oriented and involves field-work where he investigates Climate Change, Biodiversity, Local Indigenous Knowledge (especially Sàpmi Culture)and the Ecologies of Forests, Water and Soil. Transdisciplinary Projects and multimedia exhibitions worldwide, for example Pori Art Museum (1989) and Museum of Contemporary Art, Atheneum Helsinki 1996, (Strangers in the Arctic) COP21 and COP23 UN Climate Conferences in Paris 2015 and Bonn 2017, Art Museum Krefeld,Taxispalais Innsbruck 2017, Art Museum Thun 2014. 1992-1995 Renovation of Tallinn Art Hall as sustainable Sculpture. Since 1966 also Performing as musician (incl. Documenta 7 Kassel). Researcher and lecturer in Europe, USA and Asia on aspects of Contemporary Art and Sciene and the relationship of Art-Culture and Sustainability.2011 receives Doctor Honoris Causa from the philosophical-historical faculty of the University Berne, Switzerland. (After Hermann Hesse, Alberto Giacometti and Ilya Kabakov).
Shifting Ground: Energy, Artistic Practices and Creative Resources in Canada’s North
This presentation addresses the challenges faced in northern Canada at the intersection of advancing energy project developments and the transformation of cultures and ecologies in remote regions. Examples of contemporary visual art and digital media by diverse artists will focus on how these artistic and curatorial practices are mapping change and energy transition as they draw our attention to environmental conditions of climate change and social and cultural impacts on everyday life. In consideration of increasing development of major fossil fuel, mining, and hydroelectric projects by resource extraction industries within rural communities, we ask: For artists and researchers with an interest in how we identify Canada as a major global participant in energy industries, how can artistic research be used to illuminate the complex and interlaced dynamics of culture, economy, environment, local particularities and shared experiences in northern geographies and cultures that are located on shifting ground and open water? What kind of transformations are possible when artists and other cultural producers promote dialogue and exchange to further cross-cultural understanding and alliances through the production and presentation of art for sustainable futures?
Ruth Beer is a Professor in the Faculty of Art and Director of ACE (Art/Culture/Environment) Research Studio at Emily Carr University of Art and Design in Vancouver, BC. She is an artist focused on research-creation and interdisciplinary approaches to artistic practice. Her production of multi-media artworks includes sculpture, video, photography, sound and weaving. She is the recipient of several public art commissions and is the principal investigator for “Trading Routes: Grease Trails, Oil Pipelines”, a Social Sciences and Humanities Research Council of Canada (SSHRC) supported research-creation project that addresses landscape and communities in relation to the interwoven terrain of traditional Aboriginal trading routes, and an ever-expanding network of oil and gas pipelines throughout British Columbia. Other projects include “The Hidden Cost of Supply Chains” (UBC) and Feminist Energy Futures (U of Alberta) with Canadian and international colleagues.
Caitlin Chaisson is an interdisciplinary artist, writer, and curator based in Vancouver, British Columbia. She is a sessional faculty teaching “Creative Practices” and “Drawing for Ideas” in the Faculty of Art at Emily Carr University of Art and Design. Her research-based practices intersect around questions of the body, the environment, and social systems. She is the founder of Far Afield, an artist-led initiative that supports rural and regionally-connected artistic and curatorial practices.
Anna Svingen-Austestad, OZERO (SCHOOL): How can I tell you so you will understand?
A village, a forest, a water. Ozero (school) is an artist run initiative or organism with nodes in the Arkhangelsk Oblast region in Northern Russia and Östersund/Jämtland in Sweden. The initiative simultaneously interacts with the local inhabitants, environment and existing institutions, while also seeking to break new ground and open for other voices/paths. With reference to the pedagogy of Jean-Jaques Rousseau and his treatise Emile, or on education [Émile, ou De l’éducation] from 1763, the paper will discuss how the (school) by motoring analogy and semblance can function like a highly-contagious organism. As such it might offer alternative ways of doing sustainable development.
r a k e t a is running interdisciplinary, collaborative projects and experiments within art, design, architecture and digital media. r a k e t a has been operating since 2000 as an ongoing experiment; a laboratory-in-progress. RAKETA _ PRESS is an independent publishing house founded 2005. https://www.instagram.com/institutet/
Anna Svingen-Austestad PhD is an associate professor and art teacher at the University of Agder, Faculty of Fine Arts (NO). Her interdisciplinary research focus on questions related to public and institutional pedagogy, art didactics and aesthetic practices in relation to the German concept of Selbstbildung and post-humanistic perspectives on the production of subjectivity.
10 min Majella Clarke, Failure-as-a-Service: Climate Change VISUAL SHORT PRESENENTATIONS
Presentation of the work - Failure-as-a-service: climate change is an algorithmic, sound art composition based on the data visualisations of Antti Lipponen at the Finnish Meteological Institute with data curated from NASA GISTEMP 1880-2017. The genre falls within soundart, musical composition, digital art, bio-art and data visualisation. The data from the set is tagged with sounds collected that represent emissions, e.g. the sound of traffic in India, chainsaws in Indonesia, glacial melt in Greenland etc.vThe composition plays continuously and is designed to only stop when the Paris Agreement's commitment of a global emissions pathway below 2 degrees C. It could well be the longest musical composition/sound art that gets heard. The objective of the project is to raise awareness of climate change and that we are on an emissions pathway that has existential consequences, particularly for the artic. Since the presentation is fairly short and the theme of the summit is arctic art, the presentation will focus on sound art (emissions) from arctic countries.
Majella Clarke is passionate about promoting the role of digital transformation within the circular economy, and how Big Data and AI can be used to solve sustainability and climate change issues. She has more than seven years of experience as a negotiator and advisor to various delegations to the UN Framework Convention on Climate Change. She has worked in over 35 countries performing music and working on reducing emissions from deforestation and forest degradation. Majella recently reconnected with her creative ambitions and conducts various ensembles and orchestras. She specialises in the performance and direction of aleatoric music, stochastic music and algorithmic compositions. M Majella holds an MBA from Aalto University, a Master of Science from the University of Helsinki, a Bachelor of Economics from the University of Sydney, with a major in Finance/orchestral conducting from the University of Washington, and a Bachelor of Music in Performance from the University of Sydney.
16:30-16:45 Questions and discussions