no beginning, no end: Decolonial Gestures in Sámi Worldbuilding
This international exhibition examines the complex journey being taken by the Sámi people as they strive for Indigenous justice and self-determination through decolonial worldbuilding. The politicization of Sámi art that began in the 1960s and 1970s, developing in parallel with the Sámi self-determination movement, has received widespread attention over the last decade. Today, Sámi art has become one of the most visible and dynamic parts of the Nordic contemporary art scene, and is increasingly prominent in the global artistic arena. This exhibition presents works by artists from different generations, including figures who prepared the ground for the vigorous developments currently being seen in Sámi art, as well as younger artists.
no beginning, no end stands in dialogue with the exhibition Expedition: Finno-Ugrians and the Power of Images (2 October 2026 – 21 February 2027), curated by Linda Kaljundi. Both are contributions to Expedition, a joint multi-year research project undertaken by the Art Museum of Estonia, the Estonian Academy of Arts, and the Estonian National Museum that has been investigating our relationships with Indigenous peoples and the impact these relationships have had on Estonians’ own self-image.
Artworks displayed
Gallery
Curator Ann Mirjam Vaikla on the exhibition:
The exhibition’s title, no beginning, no end, is inspired by Nils-Aslak Valkeapää, a renowned Sámi artist, musician, and author, who observed in an interview that, just as he himself had neither beginning nor end, the same was true of his creative expression as an artist. This mindset reveals the nature of Indigenous knowledge systems: knowledge is not regarded as an end in itself, but derives its value from its use in various situations. It is rooted in participation and inclusion, and thus contrasts with the epistemic violence inflicted upon colonized Indigenous peoples.
One of the cornerstones of the exhibition is Jenni Laiti’s essay On Creating Indigenous Worlds And Other Kinds of Futures, which raises a range of questions: What does the notion of Indigenous worldbuilding, specifically that of the Sámi, entail? Can we speak of worldbuilding in an era when the environmental and climate crisis coincides with the rise of authoritarian leaders whose imperialist and colonialist world view has destabilized entire regions (the wars in Ukraine and Iran, the genocide in Palestine, the US retreat from international agreements) and led to a level of militarization not seen since the Cold War?
Education and public programme
The education and public programme running alongside the exhibition is focused on the theme of power. Indigenous peoples’ stories are inseparable from the broader power structures that produce and sustain inequality. If we wish to show solidarity with Indigenous communities in their struggles for the right to self-determination, we must first understand how power functions. In collaboration with artist Ketlin Kuusing, who works in Tallinn and Setomaa, an education and public programme space has been created within the exhibition. It offers a safe environment for the discussion of complex issues and reflection on the many ways in which power manifests itself.
Artists:
Carola Grahn, Snowchange: Pauliina Feodoroff & Kaisu Mustonen, Marja Helander, Kalli Kalde, Ketlin Kuusing, Jenni Laiti & Invisible Flock, Britta Marakatt-Labba, Hans Ragnar Mathisen, Alo Paistik, Outi Pieski, Suohpanterror, Lada Suomenrinne
Team
Curator: Ann Mirjam Vaikla
Curatorial consultant: Jenni Laiti
Exhibition design: Aksel Haagensen
Graphic design: Jojo&me stuudio (Martina Gofman, Johanna Ruukholm)
Coordinator: Anastassia Langinen
Exhibition installation manager: Villu Plink
Technical manager: Mati Schönberg
Education and public programme: Frederik Klanberg
Art studios: Maari Hinsberg
