{"id":5450,"date":"2024-08-13T16:31:46","date_gmt":"2024-08-13T16:31:46","guid":{"rendered":"https:\/\/www.afmuseet.no\/en\/?post_type=exhibition&p=5450"},"modified":"2024-11-07T14:19:23","modified_gmt":"2024-11-07T14:19:23","slug":"silje-figenschou-thoresen-et-stille-og-beskyttet-farvand-de-overliggende-lag-gik-uforstyrret-hen-over-den","status":"publish","type":"exhibition","link":"https:\/\/www.afmuseet.no\/en\/exhibitions\/silje-figenschou-thoresen-et-stille-og-beskyttet-farvand-de-overliggende-lag-gik-uforstyrret-hen-over-den\/","title":{"rendered":"Silje Figenschou Thoresen"},"content":{"rendered":"\n
Exhibition<\/span>\n\n

Silje Figenschou Thoresen<\/h1>\n\n05. Sep. 2024 – 17. Nov. 2024<\/span>\n\n
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Et stille og beskyttet farvand, de overliggende lag gik uforstyrret hen over denA quiet and protected water, the layers above it, passing undisturbed Jaskes ja suodjaluvvon oalli, gearddit dan baj\u00e1bealde mannet r\u00e1f\u00e1la\u010d\u010dat meatt\u00e1\u00a0 <\/p><\/div>\n\n\n

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Et stille og beskyttet farvand, de overliggende lag gik uforstyrret hen over den<\/em> 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: \u2018I think like this. What does the stick want? And then I don\u2019t change the materials, I let them determine the shape instead of imposing a form on them from the outside.\u2019 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\u2019s lexicon and components are often reused in new configurations and new works.

Figenschou Thoresen, who is based in Kirkenes, draws upon S\u00e1mi 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\u2019s 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 S\u00e1mi Stone Age from the 1950s. Though an external viewpoint that is of its time, Simonsen established the presence of S\u00e1mi peoples in S\u00e1pmi for several millennia. The artist \u2018harvests\u2019 this history, reworking it for her own purposes.<\/p>\n\n\n\n

The work is commissioned and produced by Astrup Fearnley Museet and funded by Sparebankstiftelsen DNB Kunsten i dag and Billedkunstnernes Vederlagsfond.<\/p>\n\n\n\n

Curated by Owen Martin.<\/p>\n<\/div>\n\n\n\n

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D\u00e1t installa\u0161uvdna lea Silje Figenschou Thoresena o\u0111\u0111a b\u00e1ikespesifihkka bargu. Ie\u0161gu\u0111etl\u00e1gan objeavttat leat \u010dohkkejuvvon joavkkuide mat d\u00e1vj\u00e1 leat v\u00e1rrogasat bardojuvvon badj\u00e1laga, ja d\u00e1t speadjalast\u00e1 barggu \u010da\u0111amanni h\u00e1mi. \u00c1vdnasat eai goasse rievdaduvvo ja leat dan sajis \u010dohkkejuvvon komposi\u0161uvnnaide mat vuhtiiv\u00e1ldet daid kvalitehtaid. D\u00e1idd\u00e1r muitala: \u201cMun jurdda\u0161an d\u00e1n l\u00e1hkai. Maid s\u00e1ggi h\u00e1liida? Ja de in rievdat \u00e1vdnasiid, muhto divtt\u00e1n daid mearridit h\u00e1mi dan sajis go b\u00e1gget daidda h\u00e1mi.\u201d Objeavttain leat d\u00e1vj\u00e1 luottat olbmo geavaheamis dahje lunddola\u0161 gollamis; dahje molssaevttola\u010d\u010dat, dat leat gieskat r\u00e1hkaduvvon ja bohtet industriijain dego huksenbarggus, guol\u00e1steamis, dahje fievrrideamis. D\u00e1idd\u00e1ra leksikonas ii leat hierarkiija, ja komponeanttat d\u00e1vj\u00e1 geavahuvvojit o\u0111\u0111asit o\u0111\u0111a ovttastemiide ja d\u00e1iddabargguide.<\/p>\n\n\n\n

Figenschou Thoresen, gii orru Girkonj\u00e1rggas, atn\u00e1 s\u00e1mi designa ja \u00e1rbevieruid mat \u00e1rvvusatnet improvisa\u0161uvnna ja \u00e1vdnasiid o\u0111\u0111asit geavaheami. Su pr\u00e1ksis lea vuo\u0111\u0111uduvvon kontekstii mas kultuvra lea nannosit \u010dadnon \u00e1rgabeaieallimii. Seamm\u00e1s go suorggit dego arkitektuvra d\u00e1l integrerejit o\u0111\u0111asisgeavaheami prinsihpaid o\u0111\u0111a visttiide, Figenschou Thoresena lahkoneapmi gea\u017euha ahte d\u00e1in strategiijain lea guhkes historj\u00e1 \u00e1lgo\u00e1lbmogiid servodagain. Tihttelis son o\u0111\u0111asit dulko muhtun cealkagiid maid d\u00e1nska arkeologa Povl Simonsen 1950-logus \u010d\u00e1lii raporttas s\u00e1mi gea\u0111ge\u00e1iggi birra. Vaikko sus lei olggobeale geah\u010d\u010danguovlu, Simonsen \u00e1sahii dan oainnu ahte s\u00e1mit ledje eall\u00e1n S\u00e1mis m\u00e1\u014bga duh\u00e1t jagi. Figenschou Thoresen v\u00e1ld\u00e1 d\u00e1n historjj\u00e1 ja heiveha dan ie\u017eas \u00e1igumu\u0161aid v\u00e1r\u00e1s.<\/p>\n\n\n\n

Barggu lea Astrup Fearnley Musea di\u014bgon ja buvttadan, ja Sparebankstiftelsen DNB Kunsten i dag ja Billedkunstnernes Vederlagsfond lea add\u00e1n dasa doarjaga.<\/p>\n\n\n\n

Owen Martin lea kurateren \u010d\u00e1j\u00e1husa.<\/p>\n<\/div>\n<\/div>\n\n\n\n

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