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Tekstile Perspektiver 2019


The group show «Tekstile Perspektiver»  brought together artist’s working with textiles in the northern region of Norway, and who’s work in one way or another was connected to the land, culture, or people of the northern hemisphere and consisted of, besides myself: Asya Marakulina, Britta Marakatt Labba, Elena Dikova, Hilde Hauan Johnsen, Marie Skeie, and Solveig Ovanger. The Exhibition was presented at Terminal B in Kirkenes, Norway, and Sami Daiddaguovddas / Sami Center for Contemporary Art in 2019 as a collaborative effort between Pikene på Broen and Sami Daiddaguovddas.


In my contribution to the exhibition I continued upon my existing project «Trace me where I’m not at home» from the Barents Spektakel 2017, where I in “Tekstile Tendenser” exhibited three new pieces together with the leather weavings «Skin Traces» from Barents Spektakel in 2017. In Leather Weavings (Skin Traces) I utilize classical weaving techniques using raw leather to create unique pieces of tapestries that have been hung outside in different locations in the Barents Region; more specifically, Kirkenes (NO), Grense Jakobselv (NO), Neiden (NO), Nikel (RU), Murmansk (RU), and Teriberka (RU). The weavings made of raw leather and natural linnen remained outside in these different locations for approximately six months, where the weather, climate, and its socio-geographical locations effected the raw leather and linnen in different ways; it darkened, became greenish in the trees, salt covered by the arctic ocean etc. In this manner the Leather Weavings (Skin Traces) became a metaphor for the human skin and the effect the simple geographical locations, the climate and culture—industrial vs. rural—has on a human being on a purely physical level. In “Tekstile Perspektiver” I made use of materials that I bought while traveling through the Barents Region in 2017—Norway, Russia, and Finland—and gave not only a visual trademark to the region through the materials, but also a voice through an accompanying text, that brought together the stories from 2017 to the exhibition in 2019. With these works I wanted to give an image of the landscape and the people inhabiting that landscape, that did not rely on clichés of the north and simple romanticism, but rather give a contemporary view into that world and the nature and culture that shapes it.

Terminal B

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