Sápmi Triennial's diversity offers hope and appetite for more

The Sápmi Triennial, a significant showcase of Sami contemporary art and traditional crafts, is concluding its tour at the Kin Museum of Contemporary Art in Kiruna. This iteration, though smaller than its predecessor in Oulu, Finland, is enhanced by works from local artist Inga-Wiktoria Påve. She is among the 28 artists chosen from an impressive 100 applications.

Under the leadership of Maria Lind, the Kin Museum has broadened its relevance and community connection, guided by the principle of "dig where you stand." The museum's commitment to inclusivity is evident in its four-language signage: Swedish, North Sami, Meänkieli, and English. The exhibition program thoughtfully integrates historical pieces, such as 60 prints by master photographer Borg Mesch, with contemporary art from international, Swedish, and Sami artists, as well as doudji, the traditional Sami handicraft.

Each museum opening begins with "Markerna" (The Lands), a text by Carola Grahn, inviting the audience to acknowledge the traditional Sami homeland. This ceremony includes a finely crafted wooden box by craftsman Nils-Johan Labba, featuring a lens-ground sphere with Sami ornamentation and engraved text. The triennial also reveals a loosening of previously strict rules surrounding doudji, reflecting a broader trend of genre dissolution in the art field, where distinctions between art and craft are increasingly blurred.

The exhibition emphasizes both the breadth and depth of Sami contemporary art, a trend also observed in the Bildmuseet's "Art and truth-telling/ Sádniesvuahdah dájdán tjarra." This approach favors younger or less-known talents over established artists. Monica L Edmondson, whose work immediately captures attention, exemplifies this. Specializing in glass, she, like many Sami artists, masters various materials and techniques. Her contributions include the aluminum-print photograph "Malignant: Time" and the textile work "The Braid," woven from cut-up rag rugs belonging to older generations. These pieces poignantly depict a mother's emotions during her daughter's chemotherapy, with the daughter wearing a wig and the textile braid symbolizing hair loss and resilience.

Another artist, Maarit Magga, has repurposed 23 inherited gáktis (Sami coats) for her monumental work "From Dust I Have Come." These are sewn into horizontal bands, resembling fertile soil layers, with a space reserved at the top for Magga's future presence. Hans Ragnar Mathisen, born in 1945, is noted as likely the oldest and most renowned artist featured.