Negotiating Sami Art: Mediation Practices and Representation in Nordic Art Museums

Abstract

This thesis examines the presence and presentation of contemporary Sámi art within Western art museums through the analysis of two exhibitions: Ingunn Utsi – MUN LEAN DAT MAID LEAN DAHKAN at the Northern Norwegian Art Museum (NNKM) in Romsa/Tromsø, Norway, and Guorrat násttiid luittaid – Britta Marakatt-Labba at the Kin Museum of Contemporary Art in Giron/Kiruna, Sweden. Both exhibitions are situated within Western institutional frameworks located in Sámi territories.

Focusing on themes of Sámi identity, storytelling, and the interplay between traditional handicraft (duodji) and contemporary art, these exhibitions highlight the use of natural materials and the environment, reflecting Sámi cultural and spiritual connections to the land. By presenting Sámi perspectives on history, resilience, and cultural preservation, they challenge colonial narratives, particularly those tied to the Norwegian government’s assimilation policies (1848–1963).

This research explores how Sámi art is negotiated within Western institutional contexts, examining the dynamics between Sámi cultural heritage and the contemporary art scene in Sápmi. Fieldwork and interviews with mediation team leaders at both museums provide insights into curatorial and mediation strategies, while also reflecting on my dual role as a mediator at NNKM during the research period. The findings highlight how these exhibitions integrate Sámi voices to reframe dominant art discourses and foster deeper audience engagement with Sámi cultural identity.

This thesis examines the presence and presentation of contemporary Sámi art within Western art museums through the analysis of two exhibitions: Ingunn Utsi – MUN LEAN DAT MAID LEAN DAHKAN at the Northern Norwegian Art Museum (NNKM) in Romsa/Tromsø, Norway, and Guorrat násttiid luittaid – Britta Marakatt-Labba at the Kin Museum of Contemporary Art in Giron/Kiruna, Sweden. Both exhibitions are situated within Western institutional frameworks located in Sámi territories.

Focusing on themes of Sámi identity, storytelling, and the interplay between traditional handicraft (duodji) and contemporary art, these exhibitions highlight the use of natural materials and the environment, reflecting Sámi cultural and spiritual connections to the land. By presenting Sámi perspectives on history, resilience, and cultural preservation, they challenge colonial narratives, particularly those tied to the Norwegian government’s assimilation policies (1848–1963).

This research explores how Sámi art is negotiated within Western institutional contexts, examining the dynamics between Sámi cultural heritage and the contemporary art scene in Sápmi. Fieldwork and interviews with mediation team leaders at both museums provide insights into curatorial and mediation strategies, while also reflecting on my dual role as a mediator at NNKM during the research period. The findings highlight how these exhibitions integrate Sámi voices to reframe dominant art discourses and foster deeper audience engagement with Sámi cultural identity.