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’s rights and sustainable development. Pieski’s 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.
In several of her works, Pieski references the Sami craft of duodji, with materials such as wood, silver, and textiles. Duodji was marginalised in the wake of colonisation, but the tradition still has a strong hold: “Duodji 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.”
— Outi Pieski
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 (2021). A textile installation inspired by the gathering of good friends dressed in the traditional Sami costume gákti. While the main installation is based on the traditional Sami horn headgear, ládjogahpir, 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 archaeologist 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’s status. Today, the ládjogahpir symbolises the fight for Sami women’s emancipation from colonial and patriarchal inequality.
“As the ládjogahpir is being made and worn again, it will embrace and harbour new meanings. The ládjogahpir 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 ládjogahpir is a step towards decolonization.”
— Outi Pieski and Eeva-Kristiina Nylander.