{"id":20980,"date":"2021-12-21T14:53:20","date_gmt":"2021-12-21T13:53:20","guid":{"rendered":"https:\/\/bonnierskonsthall.se\/?post_type=bonnier_exhibition&p=20980"},"modified":"2026-04-28T09:04:57","modified_gmt":"2026-04-28T08:04:57","slug":"outi-pieski-rematriation-of-a-ladjogahpir-return-to-mattarahkka","status":"publish","type":"bonnier_exhibition","link":"https:\/\/bonnierskonsthall.se\/en\/utstallning\/outi-pieski-rematriation-of-a-ladjogahpir-return-to-mattarahkka\/","title":{"rendered":"Outi Pieski: Rematriation of a L\u00e1djogahpir\u2014Return to M\u00e1ttar\u00e1hkk\u00e1\u202f"},"content":{"rendered":"\n
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Outi Pieski: Rematriation of a L\u00e1djogahpir\u2014Return to M\u00e1ttar\u00e1hkk\u00e1\u202f<\/h2>\n\n\n

9 feb \u2192 3 apr 2022<\/p>\n\n<\/div>\n<\/div><\/div>\n<\/div>\n\n\n\n

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Rematriation of a L\u00e1djogahpir\u2014Return to M\u00e1ttar\u00e1hkk\u00e1
\r\nL\u00e1djogahpir rematria\u0161uvdna\u2014M\u00e1hccat eatni lusa<\/p>\n\n\n<\/div>\n\n\n\n

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The Finnish-Sami artist Outi Pieski has been acknowledged for her works that converse tenderly with Sami culture and identity. In paintings and large-scale installations, she explores themes of Sami history and future, indigenous people\u2019s rights and sustainable development. Pieski\u2019s works have close ties with Nordic nature, and she sees art as a tool for relating to, and recovering from, the forced assimilation of the Sami people.<\/p>\n

In several of her works, Pieski references the Sami craft of duodji<\/em>, with materials such as wood, silver, and textiles. Duodji was marginalised in the wake of colonisation, but the tradition still has a strong hold: \u201cDuodji is a collective way of making. It is our connection to each other, to past and future generations, and to nature. For me, duodji is radical softness dealing with vulnerability, sincerity, sensibility and communality.\u201d<\/p>\n

\u2014 Outi Pieski<\/p>\n\n

The exhibition at Bonniers Konsthall consists of two parts which are both related to the collective way of making. When entering the library at Bonniers Konsthall visitors are met by Beavvit II \/ Rising Together II<\/em> (2021). A textile installation inspired by the gathering of good friends dressed in the traditional Sami costume g\u00e1kti<\/em>. While the main installation is based on the traditional Sami horn headgear, l\u00e1djogahpir, which Pieski is relating to the history of Sami women. Her installations are often based on a collective practice involving collaborations with other artists, researchers, and activists. Paintings, photographs and other graphic elements in the installation builds on an extensive study of the object, carried out by Outi Pieski and the researcher Eeva Kristiina Nylander (formerly Harlin). The story highlighted by the headgear involves a colonialist metamorphosis. The headgear was banned by the colonialists and forced to change its shape, a parallel to the forced transformation of society into a more patriarchal culture that reduced women\u2019s status. Today, the l\u00e1djogahpir symbolises the fight for Sami women\u2019s emancipation from colonial and patriarchal inequality.<\/p>\n\n

\u201cAs the l\u00e1djogahpir is being made and worn again, it will embrace and harbour new meanings. The l\u00e1djogahpir today may be regarded as a symbol of a new decolonial feminism, forwarding a message from our foremothers who live beside us. There is something utterly unique and powerful when Sami women today wear this hat. The revitalisation of the l\u00e1djogahpir is a step towards decolonization.\u201d<\/p>\n

\u2014 Outi Pieski and Eeva-Kristiina Nylander.<\/p>\n\n

BIOGRAPHY<\/h2>\n

Outi Pieski (b. 1973) lives and works in Ohcejohka (Utsjoki) and Numminen, Finland. Since graduating from the Finnish Academy of Fine Arts in Helsinki (2000), she has exhibited nationally and internationally, including at the Royal Festival Hall, Southbank Centre, London, UK (2017), EMMA – Espoo Museum of Modern Art, Finland (2018), the Sami Center for Contemporary Art, Karasjok, Norway (2019), and Norwegian Sculptors Sociaty, Oslo (2021). Pieski has also been presented at biennials such as the Venice Biennale 2019, where she as a member of The Miracle Workers Collective (MWC) was part of an exhibition at the Finnish Alvar Aalto pavilion. At the 13th Gwangju Biennale (2021), Pieski presented an installation co-produced by Bonniers Konsthall. Pieski was\u202f also part of the inaugural Helsinki Biennale (2021), where she collaborated with her daughters Birit and Katja Haarla in their first joint artistic collaboration. Pieski also works with public art, as the\u202fnew entrance to Nordiska museet that was unveiled in Stockholm in 2020.\u202fOuti\u202fPieski is one of the curators to the\u202fexhibition M\u00e4ccm\u00f5\u0161, macc\u00e2m,\u202fm\u00e1hccan, about the repatriation of collections of Sami artefacts to the Sami museum Siida in Inari, Finland. The process and the objects were featured at the National Museum of Finland in\u202f2021. Pieski has received several awards, including the Finnish Acadamy of Fine Arts award in 2017, and the Finnish Cultural Foundation\u2019s Grand Prize for the promotion of outstanding cultural endeavours (2020). Pieski is represented in collections such as the Museum of Contemporary Art Kiasma, S\u00e1mi Parliament of Norway\/Sam\u00ed Art Collection, National Museum in Norway, and Moderna Museet, Stockholm.<\/p>\n

This exhibition has been produced with support from Frame Contemporary Art Finland. We are grateful to Nordiska museet for generously lending us two l\u00e1djogahpirs for the exhibition<\/p>\n

Outi Pieski\u2019s exhibition is a co-production by Bonniers Konsthall and the 13th Gwangju Biennale.<\/p>\n

Image: Jean-Baptiste B\u00e9ranger.<\/p>\n\n<\/div>\n\n\n<\/div>\n\n\n\n

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Utst\u00e4llning<\/p>\n\n\n

Outi Pieski: Rematriation of a L\u00e1djogahpir\u2014Return to M\u00e1ttar\u00e1hkk\u00e1\u202f<\/h2>\n<\/div>\n\n\n\n
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