Over the past eight years she has been returning to the High Arctic Archipelago of Svalbard for both fieldwork and pleasure, which has resulted in a material body of interviews, written notes, images and film clips. She will activate excerpts from this collection, by assembling and voicing the material in a live-situation. The aim is for a truly rough landscape to emerge. Not only in the sense of my footage from Svalbard, but also a rough landscape of writing, thinking and performing. A landscape as a kind of palimpsest, that is constantly over-written, and thus in the end touches upon (related) questions of authorship and ownership.
The work is thus not about the High Arctic. It uses, rather, the notion of skilled visions to explore political constructions of image making, by approaching Svalbard as a prism – or a film set – in which the geo-temporal conditions of the very act of filming are addressed as embodied, as a mode of doing ethnography, as mediation, and as contested representation.
With a critical approach to the notion of the essayistic film-experiment as well as to the Arctic’s neo colonial location in the context of environmental crisis, her work in effect addresses the relationship between the environmental crisis and the image-political Arctic – two forces her artistic research project The Figure of the Guide: Mediating the Arctic Terrain, seeks to better understand through a turn to mediation.