Status: Archived

  • כאן  here / was  كان

    –      Though we weren’t taught anything about it at school – I did know that Arabs were living in our country before we established our state. At 20, I remember myself repeating (while having dinner in my father’s “Arab house” in Baq’a) the common narrative, saying it’s a pity they lost their houses, but we had no choice.

    Years later, I spent several years working at B’Tselem, an Israeli human rights organization, documenting violations of human rights of Palestinians in the territories occupied by Israel in 1967. This work exposed me to knowledge about the conflict and its history that had never gotten through to me before. I understood that many of the residents of the territories, who suffer today the restrictions imposed by Israel’s military rule, lost their entire world in 1948; that the Palestinians in Lebanon are not just another ethnic group in that divided northern country, but refugees who had lived here, where I live, until the Israeli triumph in the War of 1948; that Lifta is not just a picturesque ruin from a bygone age, or an “deserted Arab village”, but a home recently taken from people, from families, from children.

    Noga Kadman, Jerusalem, Israel

    The Arab-Israeli War in 1948 resulted in the establishment of the modern state of Israel and the start of another series of wars and conflicts in the Middle East. That year, more than 400 Palestinian villages and 11 towns were almost emptied of Arab-Palestinian inhabitants, during what, in Arabic, is called ‘al-Nakba’, The Catastrophe. The modern Hebrew name for it means the War of Freedom. The majority of Palestinians became refugees, a status they still have 70 years later.

    Photo: Eivind H. Natvig

    To recognize that the current state of Israel has largely developed on the ruins of Palestinian towns and villages, can be said to be a basic premise for a constructive dialogue between the parties. The pre-World War II Palestinian structures are visible today as overgrown ruins, well hidden amongst deserted olive groves and fig trees, cactus hedges and fast-growing plants. Since 2015, the photographer Eivind H. Natvig has worked systematically to uncover remains of former Palestinian villages that are slowly but surely being built on or covered with vegetation. In his project, he aims to document a larger number of the Palestinian villages, despite the fact that place names have changed, maps are re-written, and traces of what used to exist are becoming increasingly difficult to uncover.

    Natvig worked regularly in Israel and Palestine from 1994 to 2004. When violence erupted again in 2002, he spent many months at the front lines of the conflict, in the West Bank and Gaza. After the funeral of Yasir Arafat in 2004, he became fed up with political rhetoric, hate and polarization and realized he needed a break. 11 years passed before he returned to an area he thought he knew well. In October 2015 his project was to document a small number of pre-1948 Palestinian villages. This was for an exhibition organized in connection with the European Photo Exhibition Award (EPEA), on the theme of forced migration. On this trip, while visiting these villages, he realized that in an area which initially looked like green groves, another reality lay hidden – if one looked more closely.

    With a pictorial language bordering between documentary and poetry, Eivind H. Natvig has looked more closely at what used to exist there, with the aim of giving it meaning and emphasis in our own times.

    Eivind Natvig in Lofoten. Photo: Helge Skodvin

    The exhibition is supported by The Fritt Ord Foundation, and produced by Perspektivet Museum and photographer Eivind H. Natvig/INSTITUTE

  • With an Eye for the Sámi

    This exhibition is based on the Frenchman Alan Borvo’s impressive collection of several thousand postcards with informative texts and sketches. The collection came into being over several years, when Borvo, as a young student, visited Sámi communities in Finnmark in the 1950s.

    The material is kept in 21  folders organized according to thematic and geographical categories, and is now owned by Borvo’s Sámi friends in Karasjok, Jelena and Nils John Porsanger. Here you can find postcards from the first decade after the visual medium was introduced in the 1800s, collotypes with watercolour glazes applied by hand, pictures made by professional photographers and recognized artists, as well as often-imaginative contributions from amateurs. Alan Borvo’s time in the North and his genuine interest in Sámi culture resulted in a large private collection of objects and children’s drawings as well,  that have been exhibited several places in Europe.

    A boom in tourism in the early 1900s spurred the mass-production of photographic postcards. As a travel destination, the exotic North was shrouded in romantic notions about Europe’s last wilderness – a place where people still lived in harmony with Creation. Exaggerations and stereotypes characterize the earliest postcards. Geographical and cultural distance made an impact, as did political and ideological conditions.

    The exhibition is supported by the Sami Parliament

  • Along the streets with the Photographer Knut Stokmo

    Knut Stokmo is a well-known name in Tromsø, having been a photographer in the city for more than 40 years. Children’s portraits and memories of life’s big events grace the walls of many a home, signed Stokmo Foto A/S, the company Knut and his wife Kirsten ran together. As a commercial photographer, Knut Stokmo has documented the city’s businesses for
    several decades, leaving us source material with great cultural-historical value. But that’s another story.

    The exhibition Gatelangs (Along the Streets) is an astonishing story about the youth Knut Stokmo from Tromsdalen, who impressed an international public with his exquisite artistic talent and technical skill.

    Work as apprentice

    Knut was apprenticed to the Tromsø-photographer Signe Følstad, who gave him thorough training in the field. At 21 years of age he earned his journeyman’s certificate, and at 25 he ended his formal education with a master’s certificate (1967). His training included study trips to southern Norway, Germany and England, funded in part by a grant from Kodak.

    Opened his own business

    From 1959 to 1968, the year he sets up his own business, Knut wanders the streets with his camera, drawing inspiration from international trends and diverse genres. He takes the initiative to establish Tromsø Photo Club and is its first foreman. At the same time, he submits photos to photo magazines throughout Scandinavia and participates in competitions and exhibitions, winning prizes and rave reviews.

    Stokmo’s “comet career”

    “Old Fisherman”, a picture of a local man popularly called Lus-Lars, is Knut Stokmo’s contribution to an exhibition in Poland in 1963, organised by the International Federation of Photographic Art, FIAP. Competing with participants from across the world, Knut’s work is selected as one of 14 to be given an exclusive presentation in the exhibition catalogue. Four years later, he is one of two Norwegian photographers represented in FIAP’s yearbook. The photo magazine KAMERA calls Knut Stokmo’s success in the early 1960s a “comet career”, while the Swedish magazine Film og Fotonytt expects “great things” from the young man from Tromsø.

    The exhibition Gatelangs

    The exhibition Gatelangs presents a small selection works from Stokmo’s early career. The pictures reveal a sure eye for composition and a personality keen to explore and experiment, open and unafraid when meeting the people he photographs.

  • MAADTOE

    [maa-too-ae] southern Sámi: origins, ancestral homelands and heritage

    In this exhibition, Anders Sunna and Michiel Brouwer raise questions about Swedish Sámi policy, racism and exploitation by the Swedish government. Both artists are passionate about communicating that which is kept silent. They want to challenge, provoke and share a more profound view of historical and current conflicts. The work started out in Sweden and is developing the connection to the three other countries that contain Sápmi.

    Anders Sunna’s paintings tell a deeply personal and painful Sámi family history about relocations and oppression, that has continued for over 40 years in Tornedalen. The personal history of the Sunna family is expressed through Anders Sunna’s art, and challenges those in power today, in the Tornedalen county.

    In contrast, and in addition to this, Michiel Brouwer’s clinical photographs represent powerful reminders of Sámi history and what the Swedish government is capable of. Photographs of how people were used as tools in the scientific theories of eugenics are shown alongside contemporary documentation and portraits expressing the Sunna family’s struggle.

    The exhibition balances between contemporary painting and documentary photography, between human emotions and cold bureaucracy. The two different artistic expressions are intertwined with shared thematic and one artistic goal.

  • The Russian Current

  • The Pomor Trade

  • Ivan Burkows amazing story

  • He thought me how to see

    Christian Hansen was born in Tromsø in 1863. At an early age, he established his own studio in the city. As a young man, Hansen travelled to document the large fisheries in Lofoten and Finnmark. He later also captured a number of interesting city motifs from Tromsø on glass plates. But he left his mark mostly as a portrait photographer.

    Pronounced figure

    Christian Hansen was a pronounced figure in the cityscape with his Bohemian-like appearance and characteristic hat. He was considered a master at bringing out the personality of the people who posed in front of his camera, and experimented early with lighting and environment.

    Donation of unigue material

    The firm Chr. Hansen became North Norway’s oldest photography studio. After it closed down in 1999, Hansen’s descendents donated a unique collection of photographic equipment and glass plates to Perspektivet Museum. Parts of the collection are now on display in the exhibition “Han lærte meg å se”.

    Photographer Christian Hansen portraited. Photo: Chr. Hansen AS
  • insidenorway.no

    Insidenorway.no is an exhibition from The Assosiation of the Norwegian Furniture Manufatory showing a selection of the best of Norwegian designer furniture. In addition you will find information about manufacturers and designers.

    Norwegian furniture is based on the best of Scandinavian Design traditions, and is particularly known for its innovative and ergonomical solutions. In the 1930’s the industry started to work along with professional designers, and the interesst for norwegian designer furniture i growing fast.
    Insidenorway.no has travelled around the world, but not as far north as Tromsø.

    At www.insidenorway.no you will find the porducts that are exhibited.People in North Norway have always had to rely on the life in the sea, where cod spread the greatest expectations and joy along the coast. The migration of the cod created a kind of fever in the people who lived on the coast, and had great influence on their entire lifestyle.

    Insidenorway.no

  • Let the Object go!

    Museums collect objects and the objects’ life stories. Before the object ends up at the museum, it’s had a social life. It’s moved in time and space, perhaps through different ownerships and functions, across borders and between continents. In the museum, the object usually becomes a hostage of history interpretations and the object’s fascinating ambiguity and aesthetic power are tamed.

    The objects are transformed into cultural heritage and become representative of values the society holds high. The collections should reflect the traditional North Norwegian lifestyle, be informative and create identity. The museum’s task was to connect the past and the future, to strengthen people’s “collective memory” as a cultural ballast and counterforce to everything new. Just like the big outdoor museums down south, established during the nation building at the turn of the century. In today’s globalised community, the museums’ traditional task is changing.

    By focusing on the faithless object, selected objects are presented in an unrestrained way for free association, pure entertainment or perhaps as contributions in an professional debate.