Silje Figenschou Thoresen

Et stille og beskyttet farvand, de overliggende lag gik uforstyrret hen over den is a new site-specific commission by Silje Figenschou Thoresen. Its permeable form is created through the gathering of diverse objects into groups, which are often stacked precariously on top of one another. Materials are never altered, instead they are placed in compositions that take their existing qualities into account. Figenschou Thoresen notes: ‘I think like this. What does the stick want? And then I don’t change the materials, I let them determine the shape instead of imposing a form on them from the outside.’ Objects often bear traces of human use or natural weathering; or alternatively, they are newly fabricated and come from industries such as construction, fishing, or transportation. There is no hierarchy within the artist’s lexicon and components are often reused in new configurations and new works.

Figenschou Thoresen, who is based in Kirkenes, draws upon Sámi design traditions that value improvisation and the re-purposing of materials. Her practice is rooted in a context in which culture has an intimate connection with everyday life. As disciplines such as architecture urgently integrate principles of reuse into new buildings, Figenschou Thoresen’s approach suggests that these strategies have a history within indigenous communities. The title is a reinterpretation of several lines in a report by Danish archaeologist Povl Simonsen about the Sámi Stone Age from the 1950s. Though an external viewpoint that is of its time, Simonsen established the presence of Sámi peoples in Sápmi for several millennia. The artist ‘harvests’ this history, reworking it for her own purposes.

The work is commissioned and produced by Astrup Fearnley Museet and funded by Sparebankstiftelsen DNB Kunsten i dag.

Curated by Owen Martin.

Dát installašuvdna lea Silje Figenschou Thoresena ođđa báikespesifihkka bargu. Iešguđetlágan objeavttat leat čohkkejuvvon joavkkuide mat dávjá leat várrogasat bardojuvvon badjálaga, ja dát speadjalastá barggu čađamanni hámi. Ávdnasat eai goasse rievdaduvvo ja leat dan sajis čohkkejuvvon komposišuvnnaide mat vuhtiiváldet daid kvalitehtaid. Dáiddár muitala: “Mun jurddašan dán láhkai. Maid sággi háliida? Ja de in rievdat ávdnasiid, muhto divttán daid mearridit hámi dan sajis go bágget daidda hámi.” Objeavttain leat dávjá luottat olbmo geavaheamis dahje lunddolaš gollamis; dahje molssaevttolaččat, dat leat gieskat ráhkaduvvon ja bohtet industriijain dego huksenbarggus, guolásteamis, dahje fievrrideamis. Dáiddára leksikonas ii leat hierarkiija, ja komponeanttat dávjá geavahuvvojit ođđasit ođđa ovttastemiide ja dáiddabargguide.

Figenschou Thoresen, gii orru Girkonjárggas, atná sámi designa ja árbevieruid mat árvvusatnet improvisašuvnna ja ávdnasiid ođđasit geavaheami. Su práksis lea vuođđuduvvon kontekstii mas kultuvra lea nannosit čadnon árgabeaieallimii. Seammás go suorggit dego arkitektuvra dál integrerejit ođđasisgeavaheami prinsihpaid ođđa visttiide, Figenschou Thoresena lahkoneapmi geažuha ahte dáin strategiijain lea guhkes historjá álgoálbmogiid servodagain. Tihttelis son ođđasit dulko muhtun cealkagiid maid dánska arkeologa Povl Simonsen 1950-logus čálii raporttas sámi geađgeáiggi birra. Vaikko sus lei olggobeale geahččanguovlu, Simonsen ásahii dan oainnu ahte sámit ledje eallán Sámis máŋga duhát jagi. Figenschou Thoresen váldá dán historjjá ja heiveha dan iežas áigumušaid várás.

Barggu lea Astrup Fearnley Musea diŋgon ja buvttadan, ja Sparebankstiftelsen DNB Kunsten i Dag lea addán dasa doarjaga.

Owen Martin lea kurateren čájáhusa.