Anders Sunna wall painting at the Sami House

"The painting is not framed with sharp edges with four bounding corners, it is more like an uncontrolled splash of paint. Like life itself is uncontrolled, you can control it to a certain extent but never so that it is kept within sharp frames. Everything can happen no matter how The color explosion has its origin from the Sami skull which is dead but still alive, it is exposed and has struggled for generations, does not tire, will live in the future.

Keeps it colorful inside of it despite all the adversities and darkness and will in the long run prevail. The colonial hand does not want anything to be heard from this voice, a voice that can bring change, a long-term change, where the fast money has lost its value and where greed has lost its grasp of human needs to have much more than it really needs . The men of power's fear of losing their influence and thus also silencing everything they see as a threat.

A threat to their own well-being and status in the short-term world. But what happens if the animals are allowed to choose sides? On whose side would they stand and how much would they sacrifice if they realized how people behave towards those who want to protect nature and its creatures?

If money matters to those who choose but food and survival means everything, as it was for man for a long time? A development where man does everything for money but forgets the consequences?

The three birds, which come flying with each hand grenade, are usually misinterpreted to be peace pigeons because of their white color. A color that stands for innocence and purity. And it is intended that one should be able to interpret the picture in that way, and later discover that it is mountain ridges. The mountain ridges, through their anchorage, become symbols of the mountain environment and the Sami community. The birds have an almost red war painting at their eyes and their sound can be likened to bomb explosions - kapaooow, kapaooow. But also a symbol of freedom where they fly freely in the sky, a sense of freedom. And to resist in order to maintain their freedom and to live their lives as one wishes and wants.

The man, whose head has been transformed into a skull, carries a carbon which mainly comes from Jukkasjärvi, but which also contains elements from Karasjok. The jewelry on the colt is similar to what I myself wear on my Jukkasjärvikolt. The skull is also a symbol of the Swedish race biology institute that operated in Uppsala between 1921-1958, it was the first in the world with state support. People were classified into races based on appearance, according to the institute, Sami was a worse breed. The institute took the liberty of excavating Sami graves and collecting skeletons. Sales of skeletons to other institutes and countries also occurred. These abuses were made not only in Sweden but also in Finland and Norway.

The Sámi survivors have not yet been returned and have not been able to be buried in a dignified and respectful way.

The masked woman with a cocky expression, is anonymous precisely because it is a person who can be anyone of us. We can all be this person who brings about change. A man who knows something is wrong and who dares to express his views. The jewelry she wears (Riskku) belongs to artist Sofia Jannok.

In the bare skeleton you see Elsa Laula Renberg and the others who organized the first political Sami meeting in Trondheim in 1917. The purpose was to strengthen the rights of the Sami. The meeting provided a backbone for the Sami political community and inspired several Sami organizations. The reindeer skulls, stacked as a pattern, symbolize how, in a colonial power structure, taking control of the nutrition that is most deeply rooted in a minority culture, in this case reindeer herding, but also how one has already taken the seamen's fishing business and made it an industrial profit interest for state.

The state controls the industries that are of greatest importance to the Sami and can thus gain power over this minority.

Art can speak all languages, can be understood by all cultures, and the same image can have its own story for each viewer depending on the individual's own background. " Anders Sunna 

General inquiries

Booking inquiries

Dag Monsen

Maria F. Warsinska-Varsi
909 54 891

Project manager language center
Audun Lona
402 81 289

Healthcare manager
Liz Aslaksen
481 72 359

Opening hours

Tuesday 12-16.00
Wednesday 12-16.00
Thursday 12-16.00