Marja Viitahuhta

What happens when old beliefs and modern times collide and we create new relationships with old cultural signifiers? In Sieidi, Ánnámáret builds a relationship with the sieidi, an offering place and its being by yoiking. Yoiking makes the siedi true and strengthens its power. The video shows Samuli Paulaharju's archive photo from 1930 of the sieidi located in Dierpmesvárri, Enontekiö. The photo is shaped by various digital collage techniques and effects. The piece is a cameraless film created from a single stock photo by digitally editing it into a time lapse animation. The stone seems to multiply in the image, covering itself and becoming visible again. The shape of the stone in the picture is remembered even when it is not visible in the picture. Ánnámáret’s experimental yoik is accompanied by Turkka Inkilä and Ilkka Heinonen.

Archive image: Seita, Terbmisvaarri, photographer Samuli Paulaharju, year 1930, source, organisation Museovirasto, collections Samuli Paulaharjun kokoelma and Kansatieteen kuvakokoelma.

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Marja Viitahuhta (Author), Marja Viitahuhta (Cinematographer), Ánnámáret (Composer), Marja Viitahuhta (Director), Marja Viitahuhta (Editor), Marja Viitahuhta (Producer), Anna Näkkäläjärvi-Länsman (Producer), Ilkka Heinonen (Sound Design), Turkka Inkilä (Sound Design), Koneen säätiö (Funder), AVEK (Funder), Taiteen edistämiskeskus (Funder)
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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.