\u201cBy bringing hides here, I\u2019m bringing the energy and the life from these animals and from the region where I come from. It\u2019s a very powerful energy,\u201d she added. \u201cThen combining them with these power cables, where they are trapped and entangled with each other, opens up a possibility to reflect on the greenwashing or green colonisation that we are in the midst of, especially in S\u00e1pmi, and to consider what is important in this need for energy and light\u201d.<\/p>\n
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M\u00e1ret \u00c1nne Sara\u2019s work Goavve-Geabbil (2025) in Tate Modern\u2019s Turbine Hall<\/p>\n
Courtesy of D\u00e1iddad\u00e1llu<\/p>\n
D\u00e1iddad\u00e1llu\u2019s work similarly draws on S\u00e1mi knowledge and philosophies, with a focus on themes such as openness, sustainability and holistic thinking. The network, says a release, \u201cis committed to the development and preservation of a healthy and vibrant S\u00e1pmi, striving to foster fair, lasting, and sustainable development through all of its activities\u201d there and in other parts of the world. Further projects members of the group have been involved in include Birgejupmi Through Art & Duodji, an EU-funded research initiative<\/a> that explored how art and traditional S\u00e1mi handicrafts\u2014known as duodji\u2014could be used as tools of resilience, reconciliation and the sharing of knowledge. <\/p>\n Another is Elle Sofe Sara\u2019s ballet L\u00e1hppon\/Lost (2025), choreographed together with Icelandic choreographer Hl\u00edn Diego Hj\u00e1lmarsd\u00f3ttir. It explores the Kautokeino Rebellion of 1852, a violent Sami uprising against oppression by the Norwegian authorities. A 2024 \u201crapid review\u201d<\/a> by the Norwegian Institute of Public Health stated that \u201cthe Sami people were subjected to a persistent assimilation policy from the mid-1800s until the late 1960s\u2026 and while the policy has been abandoned, the Sami people still experience harassment and discrimination based on their ethnicity.\u201d<\/p>\n Championing freedom of expression<\/p>\n The Munch Awards, launched in 2024, are given annually in honour of the Norwegian modernist Edvard Munch, whose experimental paintings embody a drive for individualism and unbound freedom of expression.<\/p>\n D\u00e1iddad\u00e1llu\u2019s managing director Dine Arnannguaq Fenger Lynge said in a statement: \u201cWe have worked hard for many years to build D\u00e1iddad\u00e1llu into what it is today. It has been about creating a platform and an infrastructure where S\u00e1mi artists can develop, work, collaborate and engage with the world on their own terms. That is why this award means so much to us. It is a recognition of the work put in over many years, of the people who have built D\u00e1iddad\u00e1llu, and of the importance of having strong S\u00e1mi art institutions. At the same time, the award gives us the inspiration and energy to continue developing D\u00e1iddad\u00e1llu further.\u201d<\/p>\n The award was judged by a jury including the artist and curator Wanda Nanibrush, the curator and acadmic Yvette Mutumba and the Munch museum director Tone Hansen, among others.<\/p>\n The group said in a statement: \u201cThe Munch Award Jury would like to honour D\u00e1iddad\u00e1llu for their significant work in supporting Indigenous artists, and for actively inserting Indigenous knowledge and perspectives into established art worlds. D\u00e1iddad\u00e1llu operates as a network focused on creating and building infrastructures, which have been lacking for their practices. With an emphasis on solidarity and sustainability, they nurture the next generation at the same time as they honour their elders. Whilst fundamentally committed to their communities, they also challenge S\u00e1mi culture from within, always aiming to highlight and confront the status quo.\u201d<\/p>\n