1,091 research outputs found
Searvedoaibma: Art and Social Communities in Sápmi
No full textContents
Mathias Danbolt, Britt Kramvig & Christina Hætta:
“Searvedoaibma: Art and Social Communities in Sápmi”
Peer-Reviewed Articles
Elisabeth Stubberud & Tuula Sharma Vassvik: “Queer
Sámi Conversations: Making Room for Safer Spaces”
Gunvor Guttorm, Iŋgá Elisa Påve Idivuoma & Samuel
Valkeapää: “Duddjon jagiáiggiid mielde”
Erika de Vivo: “Art in the Outer Fields: Márkomeannu as a
Locus of Indigenous Artivism”
Mathias Danbolt & Britt Kramvig: “Rehearsing
Reconciliation: Frictional Dramaturgies and Postcolonial
Moments in Ferske Scener’s Blodklubb”
Essays
Christina Hætta: “A Recipe for Sámi Super Power”
Gry Fors Spein: “About Sámi Realities: Is Sámi
Knowledge Important for the Management, Interpretation,
and Communication of Sámi Art and Duodji?”
Aslak Heika Hætta Bjørn: “Yielding to the Cry: Birgejupmi
and Reconciliation in Vástádus Eana and Birget”
Jenni Laiti: “Luondduláhka olbmuide láhkan”
Petra Laiti: “All the Things We Could Do”
Niillas Holmberg: “Goatnelle”
BiographiespublishedVersio
Drejninger og dissonanser - En samtale om affekt
No full textI sommeren 2013 mødtes Christina Hee Pedersen med Mathias Danbolt og Dorthe Staunæs til en samtale om den affektive vending. Det blev en samtale, der vedrører affektive drejninger og dissonanser på mange plane
Rehearsing Reconciliation:Frictional Dramaturgies and Postcolonial Moments in Ferske Scener’s "Blodklubb”
No full textA Monument to the Unloved:A Conversation on Exhausted Appearances in Public Art
No full textOver the last years, visual artist Henriette Heise has installed two temporary public sculptures entitled The Flanet (flat planet) (2019 and 2023) in parks outside public art galleries in Denmark. Although presented in urban space, these round, flat sculptures are easy to overlook because they materially blend in with their surroundings. In this conversation, Heise and art historian Mathias Danbolt discuss the expectations of visibility and legibility in discourses of public art with a starting point in Heise’s The Flanets that she describes as sculptures that are seemingly “dressing up to disappear.” Following Heise’s proposal to approach The Flanets as “monuments to the unloved,” Danbolt and Heise reflect on the conditions for public sculpture that engage with feelings of exhaustion and hopelessness in the face of planetary crises
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