The exhibition Intersection shows
works by artists that have studied the themes of dialogue and handmade
from various perspectives. The dialogue of indigenous art and culture
with the non-indigenous art and culture in the Arctic is one the
key-factors in the sustainable future of the Arctic art and culture.
This theme has dimensions in cultural sustainability and issues
connected to the ownership of culture, transformation of traditions and
inter- and multicultural nature of the Arctic communities and in the
educational structures and practices in Arctic. The intergenerational
dialogue in this project means the way of using handcraft-based methods
as a forum for dialogue between artists and audiences. The process of
making handcraft can be applied to support intercultural dialogue,
including dialogue with material. In this exhibition Sámi duodji and
other traditional handcraft is applied to contemporary art and design.
The exhibition is jointly produced by University of Lapland, Sami
Allaskuvla and Arctic Art Forum (RU).
The curator is Ekaterina Sharova in collaboration
with Maria Huhmarniemi and Ásthildur Jónsdóttir. The exhibition is
funded by the Nordic Culture Fund, the University of Lapland and Sami
Allaskuvla / Sami University of Applied Sciences.
Alison Aune (USA)
Dr. Alison Aune is a painter and Full Professor of Art Education at the University of Minnesota Duluth. Her work is inspired by Scandinavian patterns and motifs. It draws on a feminist aesthetic, honoring traditional folk arts and domestic arts. Many of her patterns are based on research of Scandinavian textiles and symbols, such as the eight-pointed star. Aune received her B.F.A. from the University of Massachusetts Amherst in 1984, her M.A. from the University of Minnesota Duluth in 1987, and Ph.D. from Ohio University Athens in 2000. Aune has exhibited her artwork in over 70 solo and group exhibitions in the U.S, Sweden, Norway and Denmark and she regularly presents guest lectures and workshops internationally, nationally, and regionally.
Hildur Bjarnadóttir (IS)
Hildur Bjarnadottir is an Icelandic artist specializing in textiles. She creates her works from the ground up in an almost literal physical sense. Her raw materials are linen and wool yarns and silk fabric. She weaves and knits the linen and wool and dyes the silk. In one respect she has gone further than even the most dedicated crafts persons. For some of her works, which may truly be called investigations given the research and experiment involved, she has made her own natural dyes, gathered the plants, boiled them down, and extracted their juice as the basis of dyes for use in colouring her yarns. It is scarcely possible to imagine getting closer to the origin of a painting than to weave the canvas and colour it with one’s own dyes. Hildur Bjarnadóttir has systematically recorded, photographed, and collected the wild plants growing on her plot of land, such as angelica, tea-leaved willow, and meadowsweet, and made from them the dyes used in the works displayed here.
Gunvor Guttorm (NO)
Gunvor Guttorm is a professor in duodji (Sámi arts and crafts, traditional art, applied art) at Sámi allaskuvla/Sámi University of Applied Sciences, Guovdageaidnu/Kautokeino in Norway. Currently she is rector at the same institution. Her research is interconnected with cultural expression in the Sámi and indigenous societies, especially duodji. The focus of her research deals with duodji in a contemporary setting and the indigenous people’s context. She also has had the good fortune to work with elderly duodji artisans and share their knowledge of traditional techniques. This has indeed benefited her theoretical work. In her approach, she has also tried to understand duodji of today by discussing what position and meaning it has and has had for the Sámi.
Louise Harris (IS)
Louise Harris, is an artist and art educator living in Iceland. During her student years in Britain she put a number of methods and materials to the test, eventually settling on watercolours and felt as her chosen artistic vehicles. They may seem a curious combination, since in almost every respect they seem to be contrary. Louise Harris´ watercolours mimic the ultra cool and cynical fashion industry whereof they speak, whereas the felt tends to conjure up notions of all things natural, authentic and intimate. In an Icelandic context felt also has strong ethnic or folk art connotations. But when put to the test, it appears these two media have more in common than we would expect. In the main, watercolours issue from the interaction of coloured water and paper of differing porousness. In her latest felt pieces Louise Harris presses strands of coloured wool into a ground of soft and slightly moist felt, producing in effect coloured wool drawings of vaguely botanic motifs on the pliant surface. Tendrils thick and thin are dispersed all over the felt, delicately furling and unfurling as they test the boundaries of Louise Harriseach sheet.
Ásthildur Jónsdóttir (IS)
Ásthildur Jónsdóttir is an Icelandic artist, curator and art educator living in Geneva, Switzerland. Her interests include arts and cultural movements that support sustainability at all levels. For a number of years she has been involved with issues concerning the ecology of the planet. In her work she is concerned about places/environment, memories, recollection and identity through authorship and collaboration, questioning individuality, exploring what is unique and what is common. With her works, she wants to bring attention to how human interaction can further both the understanding and practice of wellbeing with respect to the integrity of nature. In later years, participation has played an essential role in her work. With participation, she creates settings for people to experience significance through actions performed in close connection with the spirits of nature. She often works with installations in contemporary context and with voices of participants from a selected place. With her works she wants to place the beauty of nature on the pedestal it deserves and emphasize its important role in how we perceive our reality, our knowledge, our values, our well-being and the quality of our lives.
Maarit Magga (FI/NO)
Maarit Magga is an artist and duodji expert. She has a master’s degree in philosophy from the University of Oulu and master´s degree in duodji from the Sámi University College. She has over 35 years of experience in traditional duodji. In her recent artistic work, she has oriented to a new field in which she combines crafts and literature; she tells stories through embroidery. She has exhibited in a number of exhibitions on Sàmi handcraft and culture in the Nordic countries and elsewhere in Europe. She also holds many positions of trust in the Sámi culture.
Maria Huhmarniemi (FI)
Dr. Maria Huhmarniemi is an artist and a teacher in the University of Lapland, Faculty of Art and Design. In her work as a visual artist, she engages with questions concerning the North, multi- and interculturalism and communality, as well as environmental issues such as the relationship between people and nature and environmental responsibility. She does installation art and environmental art. As a researcher she is interested in political contemporary art, art-based environmental education and collaboration of tourism and art. In her Doctoral theses (2016) she developed collaboration of artists and other researchers.
Ekaterina Sharova (RU)
Ekaterina Sharova is an art historian and a curator of Arctic Art Forum (Arkhangelsk, Russia), a leading meeting place for contemporary art and interdisciplinary experiments in Euro-Arctic Russia. She graduated from Pomor State University in Arkhangelsk in 2004 and received a Master’s Degree in Art History from the University of Oslo in 2012. Her curatorial projects include Mobile Institute. A Portable Lab for Knowledge Sharing (with r a k e t a / RAKETA_PRESS. Arkhangelsk Oblast; Art Salon Gallery, Arkhangelsk; Borey Art Center, Saint Petersburg, r a k e t a studio, Stockholm), exhibitions at Barents Spektakel Festival, Kirkenes, Norway (2015) and the Arctic Art Forum, Arkhangelsk, Russia (2016, 2017, 2018). In 2017, Arctic Art Forum was nominated to Innovation State Art Prize. Sharova has been a speaker at the National Museum of Norway (2014) and represented Euro-Arctic Russia at Garage Triennial of Russian Contemporary Art (2017) and NEMOSKVA (2018). In 2018, she has been an advisor for The Indigenous Quinquennial at National Gallery of Canada. She has also been an expert for a number of national contemporary art and culture competitions in Russia. Her current interests lie in the fields of ecology of culture, regenerative management and ecosystem for innovative cultural production in Arctic areas of Russia and the border area.
Antti Stöckell lives in Rovaniemi and works as a lecturer at the University of Lapland in the Faculty of Art and Design. He graduated as an artist with a specialization in sculpting and teaching art. He has also studied to be a nature and wilderness guide. In his artistic work, he focused on working in nature and in the fields of environmental art and community art.
Ustina Yakovleva (RU)
Ustina Yakovleva makes artistic practice that consist of identical individual strokes which grow into abstract forms. It is a kind of automatic writing which binds the time into the material form. Her works in other media have the similar principle - embroideries which evolve into forms often unpredictable, beads and thread sculptures reminding continents or icebergs, or possibly electronic circuits rooted in empty air. Some projects she develop are figurative and represent imagined or real landscapes. These various techniques allow to reveal the peculiarities and variativeness of the same landscape, depending on objective and subjective factors. She create works without sketches, and is interested in self-forming composition as part of the creation process; drawing develops as a living organism, taking new forms throughout the work. Individual elements construct larger structures, like the atoms and cells construct the objects around us.