The skulls and the dancing pig
In late 2017, protesting the ongoing forced slaughter of indigenous reindeer herds in Norway, a young Sámi artist traveled to Oslo to set up a “curtain” of some 400 reindeer skulls in front of the national parliament. The demonstration drew considerable attention, both nationally and internationally...
| Published in: | Terrain |
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| Main Author: | |
| Format: | Article in Journal/Newspaper |
| Language: | English |
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Association Terrain
2019
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| Subjects: | |
| Online Access: | https://doi.org/10.4000/terrain.18051 http://journals.openedition.org/terrain/18051 |
| Summary: | In late 2017, protesting the ongoing forced slaughter of indigenous reindeer herds in Norway, a young Sámi artist traveled to Oslo to set up a “curtain” of some 400 reindeer skulls in front of the national parliament. The demonstration drew considerable attention, both nationally and internationally, and mobilized a complex range of historical resonances—from the first Sámi protests against the Alta hydroelectric project, half a century earlier, to the vast piles of bison skulls that accumulated during the US campaign against the Plains Indians in the 19th century. Situating the curtain in a context of chronic state violence, indigenous invisibility, and crisis biopolitics, the article examines the multiple apocalyptic logics summoned in the work. |
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