OCA Office for Contemporary Art

Presenting new and historical material, the Reader narrates various micro-histories of artistic solidarity globally from the 1970s to today, in relation to the multiple crises of migration, neo-colonialism, rising radicalization, inter-religious conflicts, class divisions, new technology, heteronormativity, and the environment. It emphasizes the centrality of artist-led empathy and personal connectivity in building networks of solidarity and concrete actions that generate profound transformation in society.

Whilst addressing the relevance of the Non-Aligned Movement of the Cold War in generating new forms of artistic solidarity globally, the Reader points towards its successors and, significantly, centres Indigenous perspectives rarely considered when discussing the history of artistic solidarity.

Contributors: Reem Abbas, Toufoul Abou-Hodeib, Noor Abuarafeh, Yásnaya Elena Aguilar Gil, Ali Hussein Al-Adawy, Salvador Allende, Beth Brant, Wendy Carrig, Heather Dewey-Hagborg, Emory Duoglas, Ntone Edjabe, Ingrid Fadnes, Eva Maria Fjellheim, Katya García-Antón, Soledad García Saavedra, Gavin Jantjes, Sholi Kanuga, Geeta Kapur, Lara Khaldi, Ixchel León, Audre Lorde, Chelsea Manning, Olivier Marboeuf, Barbara Masekela, Naeem Mohaiemen, Mário Pedrosa, Ram Rahman, Laura Raicovich, farid rakun / ruangrupa, Aban Raza, Devika Singh, Irene Soria Guzmán, Kwanele Sosibo, Eszter Szakács, Dulce Celina Ureña Hernández, Alice Walker.

Published by Office for Contemporary Art Norway (OCA) / Valiz

Čatnosat, whilst inspired by ‘The Sámi Pavilion’, stands on its own feet to reflect on Indigenous sovereignty within the interconnected spaces of land, art and knowledge and to consider the centrality of story-telling, sound and the spoken word in Sámi perspectives. The book is conceived in three sections, neither beginnings nor ends, highlighting the importance of non-linear time in Sámi life. One section is dedicated to the artists’ work and writings; a second section presents an experimental short play, poems, as well as stories interlinking Sámi spiritual, political and philosophical perspectives. A third section reflects upon Indigenous and Western concepts of land, the long history of Sámi epistemology, the relationship between Sámi land, people and language and the curatorial practices in ‘The Sámi Pavilion’ that seek to empower the above mentioned notions. An exercise in Sámification, Čatnosat advocates for the importance today of Indigenous holistic perspectives, and Sámi Indigenous wisdom in all fields of art and living.

Editors: Liisa-Rávná Finbog, Katya García-Antón, Beaska Niillas

Assistant editor: Liv Brissach

Contributors: Brook Garru Andrew, Asta Mitkijá Balto, Liv Brissach, Pauliina Feodoroff, Liisa-Rávná Finbog, Katya García-Antón, Harald Gaski, Timimie Gassko Märak, Beaska Niillas, Máret Ánne Sara, Sigbjørn Skåden, Ánde Somby, Anders Sunna

Collective Jurddabádji (two Sámi gatherings were conducted to inform the making of this book) participants: Anna Afanasyeva, Katarina Barruk, Liv Brissach, Tanya Busse, Pauliina Feodoroff, Liisa-Rávná Finbog, Katya García-Antón, Harald Gaski, Eeva Kristiina Harlin, Keviselie / Hans Ragnar Mathisen, Beaska Niillas, Taqralik Partridge, Outi Pieski, Fredrik Prost, Inga-Wiktoria Påve, Máret Ánne Sara, Sigbjørn Skåden, Katarina Skår Lisa, Anders Sunna.

Graphic design and visual identity: Hans Gremmen, in collaboration with Sámi duojárs Inga-Wiktoria Påve and Fredrik Prost

Supported by: Fritt Ord – The Freedom of Expression Foundation and Nordic Council of Ministers.

Published by Office for Contemporary Art Norway (OCA) / Valiz.

The legendary Mázejoavku (1978–1983) was the first group of Sámi artists, and amongst the first worldwide, to declare itself an Indigenous artist collective. Its members fundamentally changed the perception of Sámi aesthetics in the Nordic region and took a front-line position in the reclaiming of Sámi sovereignty. Mázejoavku was a pivotal force during the first Eco-Indigenous uprising in Europe (the ground-breaking Áltá Action). The group also spearheaded the creation of the SGS (Sámi Authors’ Association, 1979) and the SDS (Sámi Artists’ Association, 1979), central pillars of the Sámi art world. Their multifaceted work continues to be of great significance today.

Based in the village of Máze (at the heart of Sápmi/Northern Norway, the homeland of the Sámi people) the group was composed of artists Aage Gaup, Trygve Lund Guttormsen (d. 2012), Josef Halse, Berit Marit Hætta, Rannveig Persen, Hans Ragnar Mathisen, Britta Marakatt-Labba and Synnøve Persen (the work of the last three was presented in documenta 14, 2017). In this book, Sámi author Susanne Hætta’s detailed account of the group documents their history, based on extensive individual interviews, photographs and text sources. These are complimented by essays written by Yorta Yorta curator Kimberley Moulton, Spanish/British art historian Katya García-Antón and Sámi scholar and duojár Liisa-Rávná Finbog.

Mázejoavku. Indigenous Collectivity and Art reflects upon the power of Sámi artists to combat Nordic colonialism and to affirm their artistic practices on their own terms. It also highlights the relevance of the group in relation to ongoing artistic movements and political mobilisations led by younger Sámi artists today. The book argues for collectivity as a core value that creates a sense of kinship amongst Sámi and Indigenous people worldwide, and underpins their ability to survive and resist the ongoing forces of colonialism globally today.

‘Voicing Out Silences’ consists of an exhibition at The National Gallery of Zambia, and at the National Museum of Zambia, on display from 15. May – 4. August 2024, with a discursive programme including performative lectures, artist talks, conversations, panel discussions, the launch of this publication, and gatherings around food and music at the venues above, but also at the headquarters of the Livingstone Office of Contemporary Art (LoCA) in Livingstone, Zambia.

The project ‘Voicing Out Silences’ stems from the conversations, research and reflections that were generated during the home-based residency conceptualised between Office for Contemporary Art Norway (OCA), Livingstone Office of Contemporary Art (LoCA), and Casa Ma.

The publication Voicing Out Silences encompasses contributions from Anawana Haloba, Gala Berger, Golden Mirrors Arts Norway, Grace Tabea Tenga, Itzel Esquivel, Kabila Kyowa Stéphane Emery, Rafiki, Ruth Simbao, Yuderkys Espinosa Miñoso, Yuniris Ramírez Familia.

Published by OCA / ASSATA

The publication features the original English translation of Tor Åge Bringsværd’s short story The Man Who Collected the First of September, 1973 alongside newly commissioned responses by curator Mi You and artist Lesia Vasylchenko, as well as a contextual essay by Mike Sperlinger.

The publication was inspired by the Norwegian author Tor Åge Bringsværd’s short story The Man Who Collected the 1st of September, 1973 (Mannen som samlet på 1. september, 1972).

The story, which was first published in 1973, is a fable in which an ordinary man in Oslo becomes obsessed with discovering everything that took place on Earth on one random day, an impossible quest which takes over his life. The story has taken on new resonances in the decades since, as a reflection both on increasing globalisation and the ‘information overload’ engendered by the internet.

Bringsværd’s text also took on an eccentric life of its own, with subsequent translations into English, French and other languages which ‘updated’ the story, changing the date and the events depicted to make them current. The English translation – which altered the date to ‘first of September 1973’ – was also included in a legendary anthology, The Book of Fantasy, edited by Jorge Luis Borges, Adolfo Bioy Casares, and Silvina Ocampo, which popularised it more widely.

OCA’s publication reproduces the original English translation of Bringsværd’s story, alongside newly commissioned responses by Mi You Lesia Vasylchenko and an essay by Mike Sperlinger.