Abstract

Incorporating reindeer remains into haunting art installations, with Pile o’Sápmi, Máret Ánne Sara manifests how Norwegian forced culls impact Sámi autonomy. Mobilising the notion of animal colonialism, this article places Norwegian reindeer policy in a global history of colonisation through targeting animals upon which Indigenous peoples depend. Turning the gaze toward the North, it reads Sámi art and activism with Indigenous critique to examine how colonisation in Europe itself continues today. Whereas most interpretations stop at affirming Sara’s accusation of colonialism, this article argues that her work expands our understanding of it. Pile o’Sápmi unveils the performative aspect of colonial sovereignty, whilst her insistence on centralising reindeer indicates an opportunity for postcolonial studies to decolonise its own anthropocentrism. Simultaneously, her work escapes the violence it bears witness to. Seen through the lens of Sámi aesthetics or duodji, Pile o’Sápmi tends to localised interspecies ecologies and shows the value of art in doing the work of decoloniality.

摘要

Máret Ánne Sara与Pile o'Sápmi一起将驯鹿遗骸融入令人难忘的艺术装置中，展示了挪威的强制宰杀如何影响萨米人的自治。本文动员动物殖民主义的概念，通过针对土著人民所依赖的动物，将挪威驯鹿政策置于全球殖民历史中。将目光转向北方，它通过土著批判解读萨米人的艺术和行动主义，以审视欧洲本身的殖民化在今天如何继续。尽管大多数解释都停留在肯定萨拉对殖民主义的指责上，但本文认为她的作品扩展了我们对它的理解。Pile o'Sápmi揭示了殖民主权的表演方面，而她坚持将驯鹿集中化表明后殖民研究有机会去殖民化其自身的人类中心主义。同时，她的作品摆脱了它所见证的暴力。从萨米美学或duodji的角度来看，Pile o'Sápmi倾向于本地化种间生态，并展示了艺术在开展非殖民化工作中的价值。