In 17th-century Finnmark a common practice for determining the guilt of an accused witch was to subject them to the “water ordeal.” With hands and feet tied, they would be thrown into the freezing Barents Sea to see whether they sank or floated. If they sank, they were innocent. Water was thought to repel evil, so the suspect’s rising to the surface and floating proved their guilt.
In 21st-century America, Senator Lindsey Graham regarded a woman who, protesting the Supreme Court nomination of a man accused of sexual assault, asked if Brett Kavanaugh should take a polygraph test. In response he sneered “why don’t we dunk him in water and see if he floats?”
The figure of the hunted witch was evoked often in 2018, the year I finally realized a long-held dream to make an art-pilgrimage to the Arctic island of Vardø, the extreme northeastern point of Norway, to see the Steilneset Memorial to the victims of the Finnmark witchcraft trials. Read about my trip in my essay for Hyperallergic.
In 1979 a group of Sámi people, wearing traditional dress and calling to “let the river live,” staged a hunger strike outside of parliament in Oslo while others occupied the prime minister’s office. This was the dramatic climax of the People’s Action against the Áltá-Guovdageaidnu Waterway (1978-1982) in opposition to the construction of a dam across the Alta river in northern Norway.
This strategically visible uprising brought Sámi rights into the Norwegian political mainstream and helped lead to Norway’s signing of ILO Convention 169 and the creation of a Sámi Parliament.
Part of a three-year-long dialogue with Sámi artists and scholars, Let the River Flow ,a group show at Oslo’s Office of Contemporary Art, shows how artists were at the center of the action. The multigenerational show also explores the Alta action’s legacy today and the sentiment that the decolonizing process it initiated has stalled and that Sámi culture is in danger today, through such works as Máret Ánne Sara’s Pile o’ Sapmi Power Necklace, which is made from powdered reindeer bones referencing the Norwegian government-imposed reindeer slaughter in northern Norway, a policy Sámi herders is an infringement of indigenous rights.
Full review at Hyperallergic: Unpacking the Legacy of an Indigenous Uprising in Norway
The art offerings of the Nordics are well established: from the capitals’ gleaming national galleries to the scrappier artist-run spaces in their less-polished neighborhoods. But travel away from the established centres and you may stumble upon some of the region’s most visually arresting art sites. In each of the following three art escapes, in Norway, Sweden and Denmark, a unique alchemy fuses the site with the place in which it sits, and together they yield something almost magical.
For volume nine of Oak – The Nordic Journal, I wrote about the Steilneset Memorial (above) in Norway, Artipelag in Sweden, and Cisternerne in Denmark.
Photo: Karen Gardiner
The Lofoten International Art Festival is in the only part of Norway where drilling for oil is not currently permitted, but that could change.
My report from the 2017 Lofoten International Art Festival is at Hyperallergic.
I spent a few days at the vernissage (preview) of the Venice art biennale where, far from the headlining major national pavilions, I found a collateral event that might have been the highlight of the three days. For Catalonia in Venice, the artist Antoni Abad worked with blind Venetians to bring visitors a sensory experience of a visually familiar city. Continue reading “Venice Biennale at Condé Nast Traveler”
My story on street art has just been published at National Geographic Travel: 7 Cities to See Powerful Street Art
Given a limit of seven places and the intent of geographical diversity, many deserving cities could not make the cut. So here are a few more favourites. Continue reading “Street Art at Nat Geo Travel”
At the crossroads of east and west, the Republic of Georgia is a place that has long absorbed opposing influences, and its charming capital, Tbilisi is no different. With its crumbling Neoclassical buildings and winding streets, Tbilisi is filled with history. But as it emerges as a hot travel destination, the city is also embracing modernity as it strives to move beyond the cultural stagnation of the Soviet era.
Read my recommendations for getting a taste of Tbilisi’s booming creative scene at Fodor’s Continue reading “Tbilisi at Fodor’s”