Dreamscapes

Marja Viitahuhta

Nieguid Duovdagat is an experimental, minimalist and hypnotic music video. Ánnámáret's yoik, Ilkka Heinonen's jouhikko (finnish bowed lyre) and Turkka Inkilä's electronic music combine with the effected image of the winter landscape created by Marja Viitahuhta. In the video, the nature and landscapes of Sápmi, the Sámi homeland, is transformed into abstract forms, where from time to time one can see similarities to embroidered or engraved crafts. The video deconstructs the assumptions associated with music videos in its own experimental language: for example, it does not show recognizable human figures and the musicians do not appear in the video. The digitally implemented effect reflects the elements of electronic music and the nature catalog takes root in the environment in which indigenous sámi culture lives. In this way, the video travels between the real worlds on the one hand and the imaginary worlds on the other.

Production Year
2020
Duration
00:04:47
Type
Genre
Tags
Original Title
Nieguid duovdagat
English Title

Dreamscapes

Production Countries
Finland
Dialogue
Yes
Sound
Yes
Cast
Marja Viitahuhta (Author), Marja Viitahuhta (Cinematographer), Ánnámáret (Composer), Marja Viitahuhta (Editor), Ánnámáret (Producer), Marja Viitahuhta (Script), TAIKE (Funder), Alfred Kordelin Foundation (Funder), Ánnámáret (Sound Design)
Marja Viitahuhta (formerly Mikkonen) is a Helsinki-based media artist and filmmaker. Her works range from films, performances and installations to photography and collage. She holds a BA degree in performance art from the Turku Polytechnic Arts Academy and an MFA degree from the Finnish Academy of Fine Arts. She has been awarded internationally at Cannes (Cinéfondation), Stuttgarter Filmwinter, Mediawave and L’Alternativa film festivals. Viitahuhta's recurring themes focus on perception and experience of female protagonists. Her works deconstruct individual identities, memories, or the idealised imagery of nations and landscapes. Her work often speaks in an intimate and personal tone and deals with existence and mortality. The text and image are set in a dialogue in Viitahuhta’s experimental language. Viitahuhta often bases her work on documentary filmmaking, archive material and found images as well as interviews.