Chanter les territoires Sámi dans un monde plus-qu’humain

In Ung Uro: Unsettling Climates in Nordic Art, Architecture and Design, thirteen young writers, critics, and art historians examine how Nordic visual art, architecture, and design relate to the Anthropocene. The chapters in the book represent a new generation of scholarship in the field of visual studies, which holds that critique and analysis of artistic expression must have a different form and agency than before: less descriptive and impartial, according to objective parameters, and more speculative and insistent, in accordance with subjective experiences. By discussing the artwork Future Library: 2014–2114 by Katie Paterson, this introductory chapter presents key notions that run throughout the book: Arne Næss’ deep ecology, Donna Haraway’s ‘staying with the trouble’ and Giorgio Agamben’s notion of profanation. Further, chapter introduces how ethical criticality functions as a methodological underpinning for the authors’ interpretation and proposes the term deep relationalism as an analytical concept for describing a tendency in the Nordic arts in the latter part of the 2010s: an interest in processual works with an ethical value base directed towards destabilising human exceptionalism.

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confidence: 99%

Introduction

Halland¹

2021

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confidence: 99%

Exhibiting Nordic Values: A Critical Look at the IKEA Store

Biffi¹

2021

IKEA proposes a distinct showroom experience for its stores globally—a successful model that is frequently imitated by competitors and widely analysed by academics. In this chapter, the IKEA showroom is considered as a cultural institution rather than a store: a museum of modern living. The ‘IKEA Museum’ is evaluated for its cultural impact, focusing mostly on the narrative that it offers to the visitor regarding his/her own role and agency in the Anthropocene. Drawing on authors such as Walter Benjamin, Giorgio Agamben, Carol Duncan and Naomi Klein, it is argued that the choices in showroom design and brand messages portray many known tropes of neoliberal culture, reducing the citizen to an individual consumer rather than empowering his/her political awareness. The chapter ends with a suggestive subversion of the current situation, as the IKEA showroom is briefly re-imagined as a more ethical and culturally responsible version of itself.

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confidence: 99%

Norwegian Plastic Wood: On Marianne Heske’s Gjerdeløa

Steien¹

2021

When artist Marianne Heske re-presented the iconic artwork Gjerdeløa (1980) in an art gallery in 2014, the traditional wooden hut was coupled by a new companion made out of white resin. Project Gjerdeløa, that originally emphasised the ephemeral event of artistic intervention, became in the 2014 installation concrete and made visible within the artwork itself, underlining the receptive change of the object when represented in a different material. This chapter emphasises the break that the new installation of Gjerdeløa represents, and how this change may be read as a commentary on how modern lifestyle today has disconnected with—and is now placed outside of—life cycles in nature.