On a pale, crisp February morning, I woke early, layering up against the Arctic cold. With warm coffee packed and a snow scooter prepped for the journey, I set off towards Marthabreen in the Nordenskiöld National Park. I didn’t know what we would find when we got there, but friends had mentioned an ice cave, so I thought—why not? What we found was not an ice cave, but what felt like an ice wave. Walking through this frozen spectacle was like stepping onto the set of a sci-fi film. The silence was eerie, the scale breathtaking, and the moment unforgettable—a reminder that Svalbard is a place of constant discovery, where nature always finds new ways to surprise us.
That same spirit of exploration defined Artica Svalbard’s work in 2024. This year saw a shift in our residency programme, with longer stays becoming the norm—a key step in reducing the environmental impact of travel while allowing for deeper artistic engagement. At the same time, an increasing number of residents are returning to Svalbard through self-initiated funding, demonstrating the profound impact of their time here. Many feel compelled to return, continuing their research and strengthening their connection to the Arctic.
We welcomed twelve resident artists and writers, each arriving with unique research, expectations, and creative ambitions. They left transformed, having experienced a journey filled with friendship, challenge, awe, and the unpredictability of daily life in the Arctic. Through their work, we explored the history of the Svalbard Treaty, the region’s birdlife, weather, fossils, ecosystems, and even the dust that surrounds us. We listened to the Northern Lights, hiked through snowstorms, baked MoonCakes, and used drawing as a tool for understanding. Meanwhile, this year’s Artica Writings series examined how international residents are navigating policy changes outlined in the Svalbard White Paper, offering insight into the shifting governance and cultural dynamics shaping life here today.
Beyond our archipelago, we travelled to Finland to meet our Nordic Alliance of Artists’ Residencies on Climate Action (NAARCA) partners, reflecting on three years of collaboration and preparing for the next phase. And in recognition of our work, Artica Svalbard was named by ArtNet as one of the Top 35 Artist Residencies Worldwide—a testament to our commitment to creative exploration and critical discussions on Arctic climate, geopolitics, and migration.
At the same time, Artica remains dedicated to meaningful exchange with the local community. Just as residents gain from their time in Svalbard, so too does the town benefit from engaging with artists, writers, and researchers from around the world— sparking new perspectives, collaborations, and conversations that connect the Arctic to global discourse.
As global focus on the Arctic sharpens, Svalbard finds itself increasingly in the international spotlight. From Russia’s presence in the archipelago amidst the ongoing war in Ukraine to the geopolitical strategies of Arctic states, the region is at the centre of a shifting global landscape. Actions such as Trump’s interest in Greenland and debates over Arctic sovereignty highlight the complexities of alliances in the High North. In this moment of change, fostering critical dialogue and cultural engagement in Svalbard has never been more vital.
I want to express my gratitude to all those who support Artica Svalbard. Funding from the Norwegian Ministry of Culture and Equality, Fritt Ord, Nordisk Kulturfond, Sparebankstiftelsen, and other trusts and foundations allows us to sustain a welcoming, stimulating, and forward-thinking residency and public programme. The Artica team, freelancers, volunteers, board, partners, and collaborators demonstrated remarkable dedication and resourcefulness throughout the year.
As we enter 2025, the urgency of our mission has never been clearer. To many, Svalbard may seem like an alien world, a strange sci-fi movie set, but it is profoundly real—and it is in very real danger. Climate change is accelerating here faster than almost anywhere else on the planet, reshaping landscapes, ecosystems, and ways of life before our eyes. Meanwhile, shifting geopolitics in the Arctic bring new uncertainties. The stories we tell and the knowledge we share matter now more than ever—not just for Svalbard, but for understanding the profound changes unfolding across our planet.
Charlotte Hetherington Director, Artica Svalbard
ABOUT ARTICA SVALBARD
Artica Svalbard is one of Norway’s leading non-profit arts and culture organisations. We facilitate artistic and cultural activities on Svalbard and support the development of Norwegian and international art and culture.
We seek to raise awareness of Svalbard, and the Arctic. We aim to create a platform for debate on topics that relate to our region such as culture, geopolitics, climate change, migration and minorities. Our mission is to challenge the perspectives of the Arctic, welcoming new knowledge and ways of thinking, to inspire change.
OUR VISION
Using art and culture to raise awareness of the unique challenges in the Arctic, spread knowledge and inspire change.
OUR VALUES
We believe in supporting communities, artists, and voices from all backgrounds. Artica strives to promote positive change through cultural expression and exploration. Through our support and advocacy, we aim to amplify voices, nurture talent, and promote tolerance and understanding.
We believe in the transformative power of creativity. Artica Svalbard strives to ignite creativity and promote cultural expression and exploration. By nurturing artistic innovation, we aim to inspire new perspectives and solutions to the challenges faced by our region and the world. Our commitment to creativity fosters an environment where imagination and originality can thrive, driving cultural and social progress.
At Artica Svalbard, we recognise that true sustainability encompasses ecological, social, psychological, and cultural dimensions. We are dedicated to fostering practices that respect and preserve the environment, promote social equity, support mental well-being, and celebrate cultural diversity.
OUR GOALS
IMPACTFUL RESIDENCIES
The residency programme emphasises that the residents should commit to deep engagement with the local community, fostering opportunities for residents to challenge and be challenged in their thinking while inspiring others through their work. The goal is to create lasting bonds, friendships, and knowledge exchange that endure beyond the residency, enriching both the residents and the local community.
Artica Svalbard aims to cultivate longer and more profound residency experiences by collaborating closely with partners to support artists, writers, and researchers visiting Svalbard. Through tailored onboarding programs and extended stays, residents are provided with ample time for reflection, exploration, and collaboration.
EMPOWERING THE COMMUNITY
TOP TIER COLLABORATIONS
Artica Svalbard aims to deepen its connection with the local community by actively involving residents in community life. Through organised events, debates and workshops for residents and locals, Artica will challenge the perspectives of the Arctic, contribute to new knowledge and new ways of thinking.
Artica fosters dialogue, collaboration, and cultural exchange, ensuring that residents benefit from local perspectives and knowledge while contributing meaningfully to the community.
Artica Svalbard seeks to expand its impact by cultivating long-term collaborations with like-minded organisations, institutions, and individuals locally and globally. Such collaborations not only amplify the reach and influence of each partner but also facilitate the sharing of knowledge, skills, and innovative practices. By working together, we can find better solutions, and drive cultural and social change across Svalbard and beyond.
OUR RESIDENCY PROGRAMME
Artica Svalbard’s residency programme brings together artists, writers, and researchers from around the world, offering them time, space, and freedom to develop their work in the extraordinary environment of Svalbard.
Residents join Artica Svalbard through both nominating partners—leading cultural institutions that support artistic and literary exploration—and, as of 2024, independently-funded residencies, which allow individuals and collaborators to secure financial support through their own academic institutions, public funders, foundations, or private means.
This expansion has welcomed both new and returning residents, strengthening Artica’s role as a catalyst for long-term engagement with the Arctic. By opening residencies to independent applicants, we are ensuring that more voices and perspectives can contribute to critical conversations on Arctic culture, climate, and geopolitics.
To support these developments, we redesigned our onboarding process and introduced a residency resources section on our website. This comprehensive guide ensures that all residents arrive fully prepared for their time in Svalbard, covering logistics, environmental considerations, and community engagement. By equipping residents with the knowledge and tools they need in advance, we enhance their experience while encouraging a more sustainable and thoughtful approach to working in the Arctic.
A Growing and Evolving Residency Programme
Another key focus in 2024 was expanding the length of stays, aligning with our environmental goals by reducing the frequency of travel while allowing deeper engagement with place and community. The average residency length increased from 43 days in 2023 to 54 days in 2024—a 26% increase. This shift enhances both the artistic process and the exchange between residents and the local community.
Additionally, we made significant improvements to our resident apartments, ensuring that artists and writers have a more comfortable and supportive living environment during their time in Svalbard.
Why These Changes Matter
By expanding residency lengths, improving onboarding, and welcoming self-funded residents, we are strengthening Artica’s mission to foster meaningful, long-term engagement with the Arctic. These changes align with our environmental commitment to reduce travel frequency while increasing impact—ensuring that every resident’s time in Svalbard is as productive, immersive, and transformative as possible.
2024 Residents
In 2024, we welcomed 12 residents who collectively spent 93 weeks in residence at Artica Svalbard:
Nominated by Norwegian Non-Fiction Writers and Translators Association (NFFO):
Roald Berg
Ellen Viste
Endre Harvold Kvangraven
Nominated by Nordnorsk Kunstmuseum:
Liryc Dela Cruz
Nominated by OCA (Office for Contemporary Art Norway):
Mhairi Killin
• Nastassja Simensky
Kamil Kak
Nominated by Queen Sonja Print Award:
Cathrine Alice Liberg
Januario Jano
Ellen Heck
Independently Funded Residents:
Inma Herrera
Sébastien Robert
OUR RESIDENTS
Roald Berg
Roald Berg is professor emeritus of modern history at the University of Stavanger, specialising in polar history, foreign policy, and defense history. He has contributed extensively to research on Norwegian foreign policy, defense strategy, and Arctic history. His published works include Norwegian Foreign Policy after 1814, contributions to Norwegian Polar History, and co-authored chapters in The Cambridge History of the Polar Regions and A History of the European Restoration. In addition to his academic publications, he has edited historical anthologies, written for international journals, and engaged in public discourse through lectures, articles, and interviews.
During his residency at Artica Svalbard, Berg worked on his upcoming book about Norwegian Arctic imperialism, focusing on the nationalist politician Wollert Konow (1847–1932). As a key advocate for Norwegian sovereignty
over Svalbard, Konow first proposed the claim in 1891 and continued to push for it until Norway formally took control in 1925. Berg’s research examines Konow’s role in shaping Norway’s expansionist policies, both in the Arctic and on the mainland. His time in Svalbard provided a fitting backdrop for writing, allowing him to explore historical sources and reflect on the region’s geopolitical legacy.
As part of his residency, Berg gave a public talk at the Svalbard Museum titled Mennesker og makter bak Spitsbergen-/Svalbard-traktaten, where he examined the diplomacy and key figures behind the 1920 Spitsbergen Treaty. His lecture explored Norway’s lobbying efforts, the role of international law, and the influence of both allies and adversaries in shaping the treaty, providing deeper insight into the political forces that secured Norway’s sovereignty over Svalbard.
“Staying at Artica gave me the stimulus I needed for my research on the history and Norwegian polar politics. I found the studio space at Artica helped with concentrated study and even - in agreement with the old slogan of “learning by doing” or simply by being in my research area - gave me a better understanding of the current international, national and even local political challenges in the polar areas. Presenting my political history studies (on the background for the Svalbard treaty) in a talk at the Svalbard Museum, established close research contact with the societal researchers in Svalbard with potential for further contact and cooperation.”
- Roald Berg, post residency report
OUR RESIDENTS
Ellen Viste
Ellen Viste lives in Bergen, where she works as a communication advisor at the Bjerknes Centre for Climate Research. With a background as a meteorologist and climate researcher, she has also worked extensively with popular science writing on weather and climate. In 2023, she published Tales of the Wind (Vindens historier, Kolombia / Bonnier Norsk Forlag), a narrative non-fiction book exploring wind’s role in shaping the world. She holds a PhD in tropical meteorology from the University of Bergen, having previously studied there and at UNIS in Longyearbyen. Her master’s thesis focused on the distribution of precipitation on the glacier Austre Brøggerbreen, near Ny-Ålesund.
During her residency at Artica Svalbard, Viste worked on Temperaturens historier, a book exploring temperature’s
influence on human civilization. As a tropical species, humans have adapted to colder climates through clothing, housing, and energy use—while at the same time, our energy consumption is altering the planet’s temperature. With Svalbard experiencing some of the fastest-rising temperatures in the world, Longyearbyen provided a unique perspective for her research. While in Svalbard, she engaged with scientists at UNIS, explored historical climate records, and examined how temperature shapes both the natural world and human society.
As part of her residency, Viste gave a public talk, where she shared insights from her research on temperature and adaptation. She also presented a version of this talk at Longyearbyen School, connecting with students on how climate shapes everyday life.
“It’s been very inspiring to be in a new environment and meet people who are doing different things than I usually bump into. It has also triggered other thoughts. One of the most rewarding experiences was visiting a science class at Longyearbyen upper secondary school. The students were eager to learn, and we had a great discussion. Equally enjoyable was the opportunity to present my project at an event at Artica. I was asked questions that I can take with me in my future work.”
- Ellen Viste, post residency report
Endre Harvold Kvangraven
Endre Harvold Kvangraven is a writer, researcher, and wildlife enthusiast. He has lived in various African countries but is now back in his native Norway, where his research explores the relationship between humans and birds in contemporary Scandinavian literature, touching on themes of ornithological practice, identification, and care. He holds a PhD in Nordic Literature from the University of Stavanger and is the author of Ulv i det norske kulturlandskapet (Res Publica, 2021), a work of literary nonfiction examining the role of wolves in Norwegian cultural history.
During his residency at Artica Svalbard, Kvangraven worked on a new book of nature writing that blends personal birding experiences with reflections on avian
ecology, literature, and the challenges birds face in a rapidly changing world. Initially envisioning his residency as a writing retreat, he found himself increasingly drawn into fieldwork, hiking and birdwatching in the landscapes surrounding Longyearbyen. His time on Svalbard shifted the project’s focus, making the Arctic’s birdlife and fragile ecosystem a central part of the book.
As part of his residency, Kvangraven presented a lecture at the Longyearbyen Library as part of the Longyearbyen Literature Festival, where he discussed the role of birds in recent Norwegian literature. The lecture explored how birds are represented in contemporary writing, reflecting broader themes of nature, identity, and ecological change.
“My stay on Svalbard contained peak experiences, wildlife encounters that will influence my outlook for years to come. Ecologically and aesthetically, it is a point of reference. More than a workspace, Artica is an inspiration, a place where thoughts and ideas flow with the shifting seasons, where a diversity of perspectives come together in unexpected ways.”
- Endre Harvold Kvangraven, post residency report
OUR RESIDENTS
Liryc Dela Cruz
Liryc Dela Cruz is an artist and filmmaker from Tupi, South Cotabato, Mindanao, Philippines, now based in Rome, Italy. His work explores themes of colonial history, labour, resilience, and cultural memory, often drawing from personal narratives and collective experiences. He has presented his films and performances at numerous international festivals and contemporary art institutions, including Locarno Film Festival, La Biennale di Venezia, Museo di Arte Contemporanea di Roma (MACRO), Matadero Madrid, and Maison Européenne de la Photographie in Paris. In 2023, he premiered Kay Kami Mga Mananap (Because We Are Beasts) at Udine Far East Film Festival, a performance that reimagines intimacy and eroticism in pre-colonial Philippines, and inaugurated his first major solo exhibition, Il Mio Filippino: For Those Who Care To See, in Rome, which examined exhaustion, slavery, care, and the colonial history of the Philippines.
During his residency at Artica Svalbard, Dela Cruz engaged with Longyearbyen’s Filipino community,
one of the most prominent non-Norwegian groups in the town, forming deep connections that shaped his work. His research focused on labour, migration, and resilience, exploring how Filipino workers sustain life in the Arctic through acts of care, survival, and joy. One defining moment was witnessing how karaoke—often dismissed as trivial—became an act of defiance, a way to reclaim spaces of labour and transform them into sites of connection and resistance. Through these exchanges, his project expanded to reflect on joy as an act of resistance within domestic spaces that flourish despite geographic extremities.
While the residency was transformative, Dela Cruz also experienced the emotional impact of Svalbard’s prolonged darkness, something he hopes to prepare for if he returns. He sees his time in Longyearbyen as the foundation for a future film project that would further explore the lives, labour, and unspoken histories of migrant workers in the Arctic.
“In this frozen Arctic landscape, I connected with the Filipino workers who are one of the backbones of Svalbard, maintaining, cleaning, and nurturing this remote region to function seamlessly like any other European city. Their labour, rooted in care and survival, carries the weight of a colonial history that has pushed Filipinos to serve and adapt in foreign lands. Yet, amid this enduring legacy, joy becomes revolutionary. One unforgettable night of karaoke, a practice often dismissed as frivolous, revealed the power of music and laughter to reclaim spaces of labour and transform them into sites of resistance, connection, and community.”
- Liryc Dela Cruz, post residency report
OUR RESIDENTS
Killin
Mhairi
Mhairi Killin is a visual artist based on the Isle of Iona in the Inner Hebrides of Scotland, where she explores the relationships between land, sea, humans, and other living beings. A Royal Scottish Academician, her work challenges the notion of islands as peripheral and instead highlights them as progressive centres offering unique perspectives on the forces shaping our futures. Working across drawing, print, sculpture, and film, she investigates how belief structures—religious, mythological, and socio-political—shape both physical and metaphysical landscapes. Her recent collaborative project, On Sonorous Seas, examined the role of sound in whale survival and military sonar, interrogating the complex relationship between Scotland’s militarised waters and marine ecosystems.
During her residency at Artica Svalbard, Killin explored the role of contemporary art in engaging with island landscapes, focusing on themes of climate change, postcolonialism, and resource extraction. She worked with her methodology of situated drawing as a process of inquiry and experimented with 16mm film to capture Svalbard’s layered and shifting landscapes. She also engaged with local artists, researchers, and educators, reflecting on the shared challenges faced by island communities in the face of environmental and geopolitical change.
As part of her residency, Killin hosted a creative workshop with students at Svalbard Folkehøgskole, fostering discussion and artistic exploration. She will return to Svalbard in February 2025 as an independently-funded resident to continue to develop her research further.
“Artica has established an exceptional space within an extraordinary place. It feels like a nurturing, living entity with far-reaching connections to the Longyearbyen community, while also maintaining a vital, protected space for artistic practice and development. The encouragement and support to adapt to and move slowly through the dynamic environment of Svalbard is fundamental to the residency’s success. This is a profound place, and Artica sits within the layered complexities of the Arctic region, bridging global and local issues. It offers artists a space to engage with these challenges, while also allowing the necessary time to step back, process, and reflect on how we might respond creatively.”
- Mhairi Killin, post residency report
OUR RESIDENTS
Nastassja Simensky
Nastassja Simensky is an artist based in Nottingham, UK. She uses fieldwork to explore how history, heritage, power, governance, ecology, and geopolitics intersect in specific landscapes. Her interdisciplinary practice often involves collaborations with archaeologists, powerplant workers, musicians, and ham radio enthusiasts, resulting in placespecific performances, radio broadcasts, sound works, films, and poetic texts. She coordinates the ArchaeologyHeritage-Art Research Network, which investigates how archaeological approaches can illuminate contemporary sociomaterial changes.
During her residency at Artica Svalbard, Simensky explored “feral heritage”, tracing how environmental toxicity, dust, and electromagnetic signals shape Arctic landscapes beyond human perception. Using radio receivers, she recorded static and atmospheric
transmissions, investigating how heavy metals, airborne particles, and radiation circulate across Svalbard’s fragile environment. She also met with researchers in microbiology and environmental toxicology at UNIS and connected with the local amateur radio community, using DIY radio receivers to map hidden transmissions in the Arctic atmosphere. Her research evolved into an inquiry into the relationship between Arctic dust and radio waves, linking material and sonic infrastructures to broader ecological and geopolitical concerns.
As part of her residency, Simensky gave a public talk, Dust, Static, and Feedback Loops, where she shared insights from her fieldwork, examining how climate change accelerates the spread of toxins across Svalbard and how artistic practice can reveal hidden environmental processes.
“The residency with Artica has been transformative. Their commitment to embedded and long-term research in Longyearbyen, their individual feedback on ideas, and their shared concerns made this experience all the more rewarding. The opportunity to spend a prolonged period in a specific place, to live and work there, helped move beyond the trope of artists as ethnographers or tourists. This experience will have a long-term impact on the direction of my work in the coming years.”
- Nastassja Simensky, post residency report
OUR RESIDENTS
Kamil Kak
Kamil Kak is an artist based in Oslo and Berlin, navigating the intersections of queer liberation, immigrant experiences, and the fragility of recent historical narratives. Their multidisciplinary practice blends activism, storytelling, and social commentary, often using exaggeration and bittersweet humor as a means of transformation. Kak’s work has been exhibited and performed internationally at venues including KUBE in Ålesund, RAM galleri in Oslo, Centre of Polish Sculpture in Oronsko, and Gdańsk Biennial of Art.
During their residency at Artica Svalbard, Kak explored the Arctic as a place where global challenges—climate
change, migration, and governance—converge in realtime. They examined Svalbard’s unique legal status as a visa-free zone, its shifting demographic landscape, and the region’s evolving geopolitical significance. Their time in Longyearbyen provided space to reflect on how identity, belonging, and cultural preservation manifest in such a transient and extreme environment. As part of their engagement with the local community, they led a Photo Zine Workshop, inviting participants to experiment with visual storytelling through self-published zines.
“Residencies like this are invaluable because they give artists the time, space, and resources to fully absorb themselves in a unique environment and engage directly with local communities. They spark innovation, empathy, and dialogue, helping create work that echoes far beyond the studio or a white cube gallery. My stay at Artica was a trigger for initiating collaborations that will last for years to come, and I am counting the days until my next visit.”
- Kamil Kak, post residency report
OUR RESIDENTS
Cathrine Alice Liberg
Cathrine Alice Liberg is a Norwegian-Singaporean artist and printmaker working across a range of techniques, including lithography, photogravure, cyanotype, etching, and mezzotint. Her work explores themes of migration, cultural identity, and historical narratives, often focusing on the family portrait as a site of lost and fragmented stories. She is particularly interested in how foreign lands and cultures are perceived through misinterpretation and fantasy, drawing inspiration from her mixed European and Asian upbringing.
Liberg received her MFA in Medium- and MaterialBased Art from the Oslo National Academy of the Arts in 2019 and is the recipient of several printmaking awards, including the 2019 Norwegian Printmakers Fund’s Printmaking Award at the National Art Exhibition (Høstutstillingen) and the 2019 KoMASK European Masters Printmaking Award in Antwerp, Belgium. She has been twice nominated for the QSPA Inspirational Award (2017, 2020) and was nominated for the Queen Sonja Print Award in 2022.
During her residency at Artica Svalbard, Liberg explored the historical role of Svalbard as a launch site for polar expeditions, reflecting on how geopolitical positioning and Arctic exploration shape contemporary narratives.
Inspired by old polar maps, she created a new body of print-based work that staged these cartographic aesthetics as theatrical tableaus, commenting on human ambition and the strategic positioning of the Arctic in global politics. Incorporating imagery of medieval sea serpents and leviathans, she used elements of satire to highlight human hubris in the face of nature’s vastness. Her project also engaged with the deep historical relationship between printmaking and cartography, emphasizing how maps have long been a tool for power, control, and myth-making.
As part of her residency, Liberg led a two-day linocut printmaking workshop, introducing local participants to relief printing techniques and exploring how the slow, physical nature of printmaking can foster a deeper connection to place and material. She also took part in Artica’s Artists Talk & Soup event, where she discussed her artistic practice and shared insights from her time in Svalbard.
The work produced in Svalbard led to Theatrum Orbis Terrarum / Theater of the World, her solo exhibition at Kunstverket Galleri in Oslo, and Imagined Memories at Northing Centre for East Asian Art and Culture in Bergen as part of the Bergen Literature Festival.
“This residency has been beyond what I could have ever hoped for—both in terms of productivity and in terms of education, adventure, and making new connections. I have travelled to many places, but few have been so beautiful and at the same time so complex as Svalbard.”
- Cathrine Alice Liberg, post residency report
OUR RESIDENTS
Januario Jano
Januario Jano is an interdisciplinary visual artist living and working between London, Luanda, and Lisbon. His practice spans sculpture, video, photography, textiles, sound installations, and performance, with a strong emphasis on research-based approaches. He holds an MFA in Fine Art from Goldsmiths, University of London, and his work explores themes of memory, cultural identity, and the production of historical narratives. Through his practice, Jano examines the delicate balance between fiction and reality, engaging with human and non-human coexistence within the context of globalization and crosscultural interaction.
During his residency at Artica Svalbard, Jano focused on research, documentation, and material experimentation, exploring the impact of human activity on Arctic landscapes. His project investigated extractivism and the
geopolitical tensions surrounding natural resources, using experimental, non-conventional printmaking methods to engage with Svalbard’s industrial and ecological histories. While working in Artica’s print studio, he developed a new body of work reflecting on the region’s layered histories and its evolving relationship with the environment. The restrictions on outdoor movement due to Svalbard’s protected landscape and extreme conditions shaped his approach, reinforcing the need to explore these themes through more conceptual and process-based methods.
Jano’s time in Svalbard deepened his commitment to bridging environmental concerns with contemporary artistic practice, a focus that will continue to inform his ongoing work. A piece created during the residency remains in Artica’s care, requiring periodic attention until its final completion.
“The Arctic region offers a rare opportunity for slow thinking and deep reflection. Artica provides a generous and well-equipped space for creative inquiry, fostering both critical engagement and material exploration. I would recommend this residency to any artist looking to challenge and expand their practice in an environment that is both physically and conceptually demanding.”
- Januario Jano, post residency report
OUR RESIDENTS
Ellen Heck
Ellen Heck is a printmaker based in North Carolina, USA. Over the past decade, she has explored questions of identity—its creation, variability, persistence, and change—through intricate printmaking techniques. Her practice embraces both the deeply personal and the universal, weaving together visual narratives that invite reflection on the complexities of self and society.
She has participated in residencies at Kala Art Institute, Northern Print, Rockport Center for the Arts, and Scuola Grafica, with Artica Svalbard marking her fifth residency experience.
During her time at Artica Svalbard, Heck focused on a series of intaglio prints, making full use of the residency’s Atelje Sjöström electric press, ferric chloride, hot plate, and drying room—facilities not available in her home studio. While she arrived prepared with copper plates, she experimented with alternative stop-out methods and aquatints, adapting her practice to avoid solvents in the shared space. This led her to explore acrylic and soap
grounds, as well as hairspray and starch aquatints, yielding both unexpected challenges and creative breakthroughs.
Heck quickly settled into an intense, uninterrupted period of printmaking, ultimately completing ten full editions during the residency. She described her time at Artica as a rare opportunity for focused intent, allowing her to bring to life a project she had been thinking about for two years.
As part of her residency, Heck took part in an artists’ talk alongside Inma Herrera, where she shared insights into her printmaking practice and the thematic explorations behind her work.
The works she created during her residency at Artica Svalbard have since been exhibited in Ellen Heck: Prints at Wally Workman Gallery, Austin, TX, where they were featured alongside her ongoing series exploring transformation, identity, and self-perception through printmaking.
“The residency at Artica Svalbard gave me the time, space, and materials to begin and complete nearly half of a project I had been thinking about since my last residency— two years earlier. Ideas are often conceived unexpectedly and gestate over time through daily life, but need focused intent to be brought into the world in a physical form. For me, residencies have been project birthing centres, and I am so thankful they exist.”
- Ellen Heck, post residency report
OUR RESIDENTS
Herrera
Inma
Inma Herrera is a Spanish artist based in Helsinki, Finland. Working primarily in printmaking, she deconstructs traditional techniques to create installations that bridge sculpture, video, and performance. Her work explores themes of imprint, time, and materiality, often drawing connections between geological processes and human history. She is the recipient of the 2020 Ducat Prize and was a resident at the Royal Academy of Spain in Rome (2017–2018). Her work has been exhibited at HAM, Amos Rex Museum, Forum Box, ARCO Madrid, and the Miró Mallorca Foundation, among others. She also collaborates with Shirin Salehi as part of an artist duo that was awarded the Pilar Juncosa & Sotheby’s Biennial Award for Artistic Creation (2019).
Herrera first came to Artica Svalbard in 2022 as a nominated resident through the Queen Sonja Print Award. The Arctic landscape profoundly shaped her artistic vision, prompting her return in 2024 to continue her project, Arctic Tales of Mother Earth. Her work in Svalbard explores the registration of fossil imprints using “Rubbing Printing”, a non-invasive printmaking technique that
captures geological textures without the use of chemicals. Through this process, she connects deep time, geological transformation, and extinction with the material history of printmaking itself.
Her fieldwork was deeply influenced by Svalbard’s extreme climate and remote landscape, which required adaptability and collaboration. She worked closely with Artica staff, local researchers, and fellow residents, often relying on their help to navigate field sites and conduct imprinting experiments. Despite delays in materials and the logistical challenges of working outdoors, these constraints ultimately enriched her practice, reinforcing the importance of patience, improvisation, and collective effort in her work.
As part of her residency, Herrera took part in a “Meet the Artist” event, where she presented her project and engaged with the local community. She also spent time connecting with scientists, UNIS students, and local residents, expanding the dialogue between art, science, and Svalbard’s unique ecological and geological history.
“Being in Svalbard was more than just a residency; it was a humbling reminder of the Earth’s magnetic power. The land seemed to speak on its own, inspiring me in ways I never imagined. I now see myself not only as an artist but also as an explorer and fieldworker, with my practice deeply connected to the environment around me. Nature definitely has the capacity to change us.”
-Inma Herrera, post residency report
OUR RESIDENTS
Sébastien Robert
Sébastien Robert is an interdisciplinary artist and researcher developing a practice at the intersection of visual and sound art, technology, science, and ethnography. His long-term research project, You’re No Bird of Paradise, explores disappearing Indigenous sonic rituals and cosmologies, translating these immaterial traditions into tangible, lasting works of art that reflect the landscapes and cultures he encounters.
His work seeks to create an engaged dialogue between non-Western perspectives and emerging technologies, questioning our perception of the world and highlighting its epistemological diversity. Robert’s installations, performances, and audiovisual works have been exhibited and performed internationally, with recent presentations at Scopitone (Nantes, FR), Light Art Museum (Budapest, HU), and FIBER (Amsterdam, NL). He has participated in artist residencies such as The Arctic Circle (Svalbard, NO), Iméra (Marseille, FR), and Valley of the Possible (Curacautin, CL), and has lectured at institutions including Mucem (Marseille, FR), ITMO University (Saint Petersburg, RU), and HEAD (Geneva, CH).
During his residency at Artica Svalbard, Robert continued his ongoing research project, The Lights Which Can Be Heard, an ambitious attempt to capture the sounds of
the Northern Lights. Working in collaboration with radio astronomer Rob Stammes, he sought to document these elusive sounds using a microphone—something that has never been done before. Amidst crackling magnetism, fracturing ice, and radio wave interference, he filmed the process, incorporating interviews with miners, space researchers, glaciologists, and students to examine how the Arctic’s shifting climate, tourism, and geopolitical landscape shape local perspectives. This fieldwork will culminate in an experimental film, inviting viewers to listen deeply—to the whispers of the cosmos and the voices of those who live in the Arctic.
As part of his residency, Robert also hosted an artist talk, presenting the project and inviting the Longyearbyen community to share personal accounts of hearing the aurora. This gathering blended his research with local knowledge, providing insight into how different perspectives contribute to our understanding of Arctic phenomena.
Despite low aurora activity, the project progressed successfully, with Robert capturing compelling footage and interviews, adapting to challenges with a flexible and investigative approach.
“Artica has been one of my favourite residencies in my young artistic career: the location, the facilities, and the team behind it really helped me and my team feel directly at ease and greatly contributed to the success of our film.”
- Sébastien Robert, post residency report
Photo by: Lucas van der Rhee
PROJECTS, EVENTS & COMMUNITY ENGAGEMENT
Through a dynamic programme of events, workshops, and community initiatives, Artica Svalbard fosters cultural exchange, creative dialogue, and deeper engagement with Arctic issues. By bringing together artists, writers, and researchers with local residents, we create opportunities for learning, collaboration, and new perspectives on the region’s past, present, and future.
Expanding Cultural Conversations & International Collaborations
In 2024, Artica Svalbard continued to broaden its outreach through key projects and partnerships. We launched the NAARCA commissions, a series of newly commissioned artworks and writings responding to urgent environmental themes, shared through a digital exhibition across the Arctic, Nordic and Scottish regions. At the annual Saari Well symposium in Finland, we joined our NAARCA partners to reflect on three years of collaboration and plan the next phase of institutional change in artist residencies.
As part of Bodø 2024 Capital of Culture, we partnered with Nordnorsk Kunstmuseum and Stormen Kunst/Dájdda to present ØYFJELLET: From the Frontline of Land Rights in Sápmi, an exhibition exploring land rights struggles in Sápmi through research by INTERPRT and CLIMATE RIGHTS. Additionally, we took part in Kunstbok Oslo, the first art book fair in Oslo organised by Coast Contemporary, where we sold out of our Artica Writings publications over the two-day event.
Strengthening Local Engagement in Longyearbyen
Locally, we launched the Art Club in Longyearbyen during the dark season, welcoming 113 participants over five sessions. We also participated in the Arctic Chamber Music Festival and Longyearbyen Literature Festival, and hosted a children’s creative workshop as part of Solfestuka
Alongside this, we held 10 free workshops on food-making, arts, and crafts for people of all ages. Our First Friday Coffee Club networking series continued to grow, bringing together 244 attendees across the year. Additionally, we organised 11 resident talks and community dinners, fostering meaningful dialogue between visiting residents and the local community.
Artica hosted public lectures by our non-fiction residents, covering research on Arctic history, climate and meteorology, geopolitics, birdlife, and literature. Events took place at Longyearbyen School, Longyearbyen Public Library, Svalbard Museum, Svalbard Folkehøgskole, and Nordover Arts Centre, offering unique opportunities for locals to engage with visiting artists, writers, and researchers.
Building Networks & Exchanging Partnerships
We welcomed key visitors to our studio, including Norwegian Minister for Culture and Equality Lubna Jaffery, representatives from the University of Southern Denmark, Hydra Arts Scotland, and The Arctic Circle residency, strengthening connections between Artica and broader cultural networks.
Overall Impact
In total, 1,265 people attended Artica’s in-person events in 2024, demonstrating the growing reach and impact of our work in Longyearbyen.
Longyearbyen, Photo: Ángel Valiente
The Artica Writings series returned in 2024, focusing on the personal stories of international residents in Svalbard. Unlike many Arctic regions, Svalbard has no Indigenous population, and its 2,500 residents represent over 50 countries. However, recent policy changes outlined in the Svalbard White Paper aim to reshape Longyearbyen by attracting more Norwegian families through improved housing and services. At the same time, voting rights for non-Norwegian residents have been restricted unless they have strong ties to mainland Norway. These changes signal a shift in Norway’s governance approach, reinforcing its presence in the region while profoundly impacting Svalbard’s diverse international community.
Through these deeply personal narratives, Artica Writings brings human voices to the ongoing policy shifts shaping Svalbard’s future. As governance of the archipelago becomes more restrictive, these stories capture the lived experiences behind the statistics— highlighting the resilience, aspirations, and challenges of those who call this place home, even as their place in it becomes more uncertain.
Led by journalist Elida Høeg, known for her work on climate and migration, with photography by Ángel Valiente, the series explores how international residents navigate these evolving policies and cultural dynamics. Through in-depth interviews conducted in Longyearbyen at the end of 2024, the essays capture personal journeys, challenges in adapting to Norwegian customs, and the broader implications of these policy shifts.
As the centenary of the Svalbard Treaty approaches—a treaty originally based on principles of shared access and equal treatment—the question of who truly belongs in Svalbard has become increasingly contested. Artica Writings 2024 captures this moment of transition, amplifying the perspectives of those directly affected by these changes.
Conducting these interviews revealed both unique personal experiences and striking common themes. While each resident’s story is different, many spoke of uncertainty, struggles with housing and bureaucracy, and the paradox of calling Svalbard home while being reminded that they do not fully belong. Some recalled the welcoming spirit of Longyearbyen’s past, contrasting it with today’s growing difficulties in securing permanent residence. These conversations were raw, honest, and at times painful—but they were also filled with resilience, humour, and a deep love for the Arctic.
As Svalbard enters its next century under Norwegian sovereignty, the voices in Artica Writings 2024 serve as a reminder that policy decisions are not just abstract legal frameworks—they shape lives, communities, and futures. This project is part of a larger conversation about belonging, migration, and identity in the Arctic, and we hope it sparks further dialogue on what it means to truly call Svalbard home.
The 2024 edition of Artica Writings will be published in early 2025.
This project was generously supported by Fritt Ord.
Project Contributors:
Valeriya Burlachenko-Mikhalskaya (Ukraine)
• Jason Roberts (Australia)
• Marina Van Dijk (The Netherlands) Malte Jochmann (Germany)
• Paula Sankelo (Finland)
• Vernon Alvez (The Philippines)
• Mia Ekeblad Eggenfelner (Sweden)
Valeriya Burlachenko-Mikhalskaya,
Photo: Ángel Valiente
PROJECTS
The Young Environmental Journalist Competition
Left to Right: Mikael Bergman, Artica Svalbard Director Charlotte Hetherington, SvalbardPosten Editor Line Nagell Ylvisåker, Ruth Møllerplass Huse
In Spring 2024 Artica Svalbard and Svalbardposten launched the Young Environmental Journalist Competition
The competition, which drew entries from young individuals between the ages of 14 and 20, aimed to encourage the next generation of journalists to articulate and advocate for environmental issues through compelling storytelling. The competition was judged by a panel of experts including Line Nagell Ylvisåker, editor of Svalbardposten; Martin Lerberg Fossum, a communications advisor for the Ministry of Climate and Environment; and Susanne Kaluza, director of the House of Literature Foundation in Oslo.
Ruth Møllerplass Huse, a 20-year-old student at Svalbard Folkehøgskole, won first place with her deeply introspective essay, The Paradoxes of Living in Svalbard. Ruth’s essay offers a poignant look at the complexities of residing in an environment as fragile and extreme as Svalbard. Through personal anecdotes and reflective insights, she tackles the inherent contradictions of living in a region marked by its own ecological footprints.
Mikael Bergman, a 15-year-old student from Longyearbyen School, captured second place with his compelling narrative, Hunger and Guilt: The Polar Bear’s Climate Struggle. Told from the perspective of a young
polar bear, his essay effectively highlights the harsh realities faced by wildlife due to climate change, weaving a narrative that is both touching and thought-provoking.
Ruth’s winning piece was featured in Svalbardposten, providing her with a platform to reach a broader audience with her compelling message; it is also available to read on the Artica website. Additionally, she received a prize of NOK 4,000. Mikael was awarded NOK 2,500 and his essay is also available to read on the Artica website.
As Svalbard continues to experience significant environmental shifts, the insights from these young writers serve as a crucial reminder of the ongoing impacts of climate change. Their work underscores the importance of nurturing young voices in journalism, particularly in fields as critical as environmental stewardship.
The competition was generously supported by Sparebankstiftelsen SpareBank 1 Nord-Norge.
Photo: Ruth Møllerplass Huse
At the end of 2024, Artica Svalbard colaborated with Stormen Kunst/Dájdda and Nordnorsk Kunstmuseum to present ØYFJELLET: From the Frontline of Land Rights in Sápmi, a new exhibition by the research agency INTERPRT and the project group CLIMATE RIGHTS.
The exhibition combined maps, video, legal evidence, and an interactive 3D model to trace the South Sámi reindeer herding community’s ongoing fight against Øyfjellet Wind—both in court and as part of a broader struggle for Indigenous land rights. By highlighting how climate action, land use, and political power intersect in the Arctic, the project aligns with Artica Svalbard’s commitment to fostering critical discourse on climate justice, geopolitics, and environmental change.
INTERPRT & CLIMATE RIGHTS
INTERPRT is an interdisciplinary research agency dedicated to environmental justice through spatial and visual investigations. Led by Nabil Ahmed (founder and co-director) and Olga Lucko
(co-director), INTERPRT applies architectural research, remote sensing, and public data analysis to create evidence files for legal cases, advocacy videos, and exhibitions. The foundation for this exhibition was laid during Ahmed and Lucko’s 2023 residency at Artica Svalbard, where they were nominated by Nordnorsk Kunstmuseum.
CLIMATE RIGHTS (CR) strengthens the fight for climate justice by developing new methods to document and present evidence in climate-related legal cases. Bringing together expertise in architecture, environmental design, GIS, artistic research, and international law, the project examines how scientific evidence and ecological knowledge are represented in both courtrooms and public debate. Their interdisciplinary approach combines fieldwork, digital media, and close collaboration with affected communities to challenge environmental destruction. CLIMATE RIGHTS is funded by the Norwegian Research Council and based at the Trondheim Academy of Fine Art (KIT) at NTNU.
The exhibition was presented with support from Bodø 2024.
PROJECTS
NAARCA at Saari Well: Reflecting on Three Years of Collaboration
In 2024, the Nordic Alliance of Artists’ Residencies on Climate Action (NAARCA) gathered for a week-long symposium at Saari Residence in Finland, bringing together representatives from each partner residency alongside artists, researchers, and coordinators involved in NAARCA’s key projects. The meeting provided a crucial opportunity to evaluate the past three years of collaboration, plan the next phase, and present NAARCA’s work to the Finnish Artist Residency Network (FAIRE) and the Nordic-Baltic Residency Forum.
Alongside residency representatives, the symposium welcomed NAARCA-commissioned artists Nikhil Vettukattil and Rikke Luther, Pedagogy Toolkit designer Maraid McEwan, ecocoordinator Jaana Eskola, and Testing Grounds podcast producer Katie Revell.
Key Outcomes & Next Steps
Where possible, attendees travelled by land and sea, aligning with NAARCA’s commitment to reducing carbon footprints and setting a reflective tone for discussions on residency sustainability and institutional change.
During the Saari Well Symposium, the group shared and evaluated the outcomes of the collaboration, including:
• The NAARCA Commissions – A series of newly produced artworks and writings exploring ecological, social, and climate-related themes, led by Art Hub Copenhagen and Baltic Art Center.
• The Sustainability Toolkit for Artists’ Residencies –Compiled by Jaana Eskola, this guide offers practical strategies for reducing the environmental impact of residency programmes, including recommendations on emissions reduction, sustainable material use, and long-term ecological practices.
• The Pedagogy Toolkit – Developed by Maraid McEwan, this free educational resource provides residencies, educators, and community groups with creative workshop frameworks for engaging young people with climate action.
• The Testing Grounds Podcast – Produced by Katie Revell, this series brings together artists, researchers, and residency leaders to discuss the role of the arts in climate action, with episodes available on all major podcast platforms.
“The NAARCA network meeting with other residency networks highlighted the importance of sharing, learning, and supporting each other in these times of change and uncertainty. We need collegial networks to be wise and express care and solidarity. I am so glad that we had the opportunity to host our NAARCA colleagues in Saari and had enough time to delve deeper into important issues around the climate crisis.”
— Leena Kela, Director, Saari Residence
Looking ahead, NAARCA will focus on distributing the commissions and toolkits across networks while seeking ways to sustain collaborative research, institutional change, and public education on climate action.
A special episode of Testing Grounds was recorded during the symposium, featuring insights from attendees and producer Katie Revell. The episode is available wherever you get your podcasts.
NAARCA is a collaboration between: Cove Park (Scotland), Saari Residence (Finland), Artica Svalbard (Norway), Baltic Art Center (Sweden), Skaftfell - Center for Visual Art (Iceland), Narsaq International Research Station (Greenland), and Art Hub Copenhagen (Denmark).
“The week at Saari has been a fantastic experience, finally coming together in person to share our thoughts, concerns, ideas, outcomes and discuss how we see the next phase. For Artica Svalbard, the NAARCA project has helped to place climate conversations and practical actions at the forefront of our work. The community we have built together has been one of support during the difficult conversations about residencies and sustainability. I feel very proud of the work we have done and excited for the future.”
—
Charlotte Hetherington, Director, Artica Svalbard
The NAARCA project is generously supported by the Kone Foundation and Nordisk Kulturfond.
2024 EVENT CALENDAR
In 2024, Artica Svalbard continued to foster connections between visiting residents and the local community through a range of events and activities. Alongside our artist talks, workshops, and public lectures, we hosted eleven First Friday Coffee Clubs, creating a consistent space for networking and informal discussions. We also introduced Art Club, a new initiative during the dark season, which ran five times, providing a welcoming environment for adults to engage in creative projects and socialise. Over the year, we also held four community dinners, offering residents and local collaborators the opportunity to connect over shared meals.
Beyond these regular gatherings, we organised a diverse programme of one-off events, from hands-on creative workshops to film screenings, public debates, and collaborations with local festivals and institutions. These events provided moments for learning, dialogue, and artistic exchange, ensuring that Artica’s presence in Svalbard remains deeply rooted in community engagement.
Youth Club evening at Artica
Arctic Chamber Music Festival, After work concert and lecture
Sun Festival family workshop: sun medallions
Young Environmentalist Journalist writing workshop at Svalbard Folkehøgskole, hosted by Maria Philippa Rossi
Workshop: The Moon Rhymes in Frost, Led by pastry chef Ethan Kan
Artist talk and soup with Cathrine Alice Liberg and Ellen Viste
Workshop: Introduction to Linocut led by Cathrine Alice Liberg
Symposium: The Nordic Alliance of Artists’ Residencies on Climate Action (NAARCA) took part in the annual Saari
Well hosted by Saari Residence, Finnish Artist Residency Network (FAIRE) and the Nordic-Baltic Residency Forum
Writers Talk: Mennesker og makter bak Spitsbergen-/Svalbard-traktaten by Roald Berg, at Svalbard Museum
Photo Zine Workshop with Kamil Kak
Lunchtime lecture: Birds in recent Norwegian literature by Endre Harvold Kvangraven
Artists Film Screening: Dora García, END (two prologues) hosted in collaboration with National Cancer Research Centre (CNIO) within their CNIO art program.
Meet the Residents: Ellen Heck and Inma Herrera
Dust, Static and Feedback Loops: an Artist Talk by Nastassja Simensky
Residents dinner with the Artica Svalbard board, partners and community members
Introduction to Marbling Workshop
Workshop: Approaches to drawing from the perspective of the Gaelic visionary tradition led by Mhairi Killin for the Svalbard Folkehøgskolen art class
Linocut workshop with artist Olaf Storø (for children, youths & families) hosted in collaboration with Nordover and NordNorsk Kunstmuseum
Artists talk: THE LIGHTS WHICH CAN BE HEARD: Have you heard the sound of the Aurora? by Sébastien Robert
Working session: Counter aesthetic strategies for Climate Justice at Stormen library, led by IA LAB
Exhibition: ØYFJELLET: From the Frontline of Land Rights in Sápmi at Stormen kunst/dájdda in Bodø and hosted in collaboration with Nordnorsk kunstmuseum
DIGITAL GROWTH & GLOBAL ENGAGEMENT
In 2024, Artica Svalbard expanded its digital presence, extending our programming beyond Longyearbyen through newly commissioned essay series, podcasts, and digital exhibitions. This shift allowed us to connect with broader audiences and share Arctic-focused discussions on culture, climate, and geopolitics on a global scale.
Our digital platforms saw significant growth, with increased engagement across our website, social media, and video content:
Key Digital Statistics:
Website Traffic: 18,468 unique visitors (+44% from 2023), with 49,529 page views (+35%).
The top five visiting countries were Norway, the United States, the United Kingdom, Germany, and France.
• Artica Film Views: 10.7k total views (+60% from 2023), reaching audiences in 124 countries.
Artica Podcasts: 528 downloads, with listeners in 17 countries.
NAARCA Digital Engagement:
• NAARCA Website: 9,048 page views from 4,596 unique visitors.
Online Exhibition (31 May – 31 July): 1,072 views.
• Testing Grounds Podcast: 2,546 downloads in 64 countries.
• Sustainability Toolkit: 340 downloads.
• Creative Climate Champions Toolkit: 281 downloads.
• NAARCA Essay Commissions: Seven published texts received 1,370 views.
This year’s growth highlights Artica Svalbard’s expanding digital reach, strengthening our ability to share critical Arctic conversations with wider audiences. By embracing digital platforms, we continue to engage, educate, and inspire, ensuring that the cultural, geopolitical, and environmental narratives of Svalbard resonate far beyond the Arctic.
Still from An Interview with Inma Herrera, articasvalbard.no
In 2024, Artica Svalbard published the third book in our Artica Writings series, entitled Food on Svalbard, a bilingual collection exploring the challenges, traditions, and innovations of food sustainability in the Arctic, offering diverse perspectives from writers, scientists, and artists.
This bilingual collection (Norwegian and English) features four essays written in 2023, each offering unique perspectives on food sustainability in the Arctic:
Recipes for Disaster by Nikhil Vettukattil, an artist and writer exploring technology and aesthetics. This essay reflects on the intersections between food production, aesthetics, and sustainability, utilizing insights from machine learning neural networks.
Mushrooms in the Ice Desert: A Mycological Culinary Journey to Svalbard by Reidun Braathen and Even W. Hanssen, mycologists with extensive knowledge of Arctic fungi. They explore Svalbard’s mushrooms, their role in local cuisine, and their resilience in the Arctic environment.
The Secret to Getting Fat: A Glimpse into the Foraging Habits of Svalbard Reindeer by Samantha P. H. Dwinnell, a wildlife biologist focusing on Arctic ecosystems. This piece examines how Svalbard’s reindeer sustain themselves through selective grazing habits, building fat reserves essential for Arctic survival.
Why Are We Eating Space Food on Earth? A Performance of Fermentation and Fieldwork by Maggie Coblentz, a researcher combining science and art to investigate food systems. She meditates on the relationship between food and environment, drawing parallels between fieldwork in Svalbard and the challenges of space exploration.
Once again, we collaborated with UK-based design studio City Edition Studio, who created a limited-edition book inspired by pink oyster mushrooms and 1970s cookbooks. The book was printed by Taylor Brothers Ltd, Bristol, UK, using paper made entirely from reclaimed agricultural waste, reinforcing our commitment to sustainable publishing.
In November, we participated in the inaugural Kunstbok Oslo art book fair, where we showcased all three of our Artica Writings publications. Over the two-day event, our books sold out, highlighting the growing interest in Arctic perspectives and environmentally conscious literature.
PRESS & RECOGNITION
IN 2024
In 2024, Artica Svalbard continued to gain international recognition for its residency programme and public initiatives. A major highlight was being named one of Artnet’s Top 35 Artist Residencies Worldwide, a testament to our commitment to fostering meaningful artistic engagement, crossdisciplinary exchange, and critical discussions on Arctic culture, climate, and geopolitics.
Søker ungdommer som vil skrive om Arktis, natur og miljø https://www.svalbardposten.no/artica-klimakrisen-skrivekonkurranse/so...
Our projects, residencies, and collaborations also received coverage in Norwegian and international media, reflecting the growing impact of Artica Svalbard as a hub for creative exploration in the Arctic. From features on our Artica Writings publications to in-depth interviews with resident artists and writers, 2024 was a year of expanding our reach and deepening global conversations about the changing Arctic.
ANJA CHARLOTTE MARKUSSEN HANSEN JOURNALIST
PUBLISERT Torsdag 11. januar 2024 - 15:52
SIST OPPDATERT Torsdag 11. januar 2024 - 15:55
CARBON REPORT 2024
As
part of our commitment to environmental responsibility, Artica Svalbard calculates its carbon footprint annually to assess our impact and identify areas for reduction.
In 2024, we expanded our data collection to include air and surface travel, shipping, accommodation, energy consumption, materials, and digital activity. This helps us track progress toward our environmental goals, including our commitment to reducing emissions in line with the Gallery Climate Coalition’s pledge to cut carbon output by at least 50% by 2030.
This year’s calculations show a 48.2% increase in total emissions compared to 2023, primarily driven by external factors beyond Artica’s control. The transition from coal power to diesel power in Longyearbyen has significantly increased the carbon intensity of local energy
use, contributing to an 114.9% rise in energy-related emissions. While this shift is intended to be temporary, it highlights the urgent need for Longyearbyen to transition to a sustainable energy source.
Despite this increase, flight emissions have decreased by 2.3%, despite hosting more residents and increasing the average residency length. This aligns with our environmental strategy to reduce frequent travel by encouraging longer stays. However, freight and material emissions have risen, reflecting increased logistical needs for workshops, and resident projects.
2023 vs 2024 Carbon Footprint Comparison
Steps Taken in 2024 to Reduce Impact
While some emission increases were unavoidable, Artica Svalbard has taken proactive steps to reduce energy consumption and waste, improve sustainability practices, and lower emissions where possible:
• Residency Length Extended: The average residency length increased by 26% (from 43 to 54 days), reducing the number of flights needed over time.
• LED Lighting Upgrade: We replaced outdated lighting in our workshop with energy-efficient LED lighting to cut electricity consumption.
• Recycling & Waste Management: We implemented detailed recycling guidelines for resident accommodations to encourage responsible waste disposal.
• Strategic Travel Planning: Staff members prioritised sustainable travel options, where possible, reducing unnecessary trips.
Challenges & Future Focus
• Longyearbyen’s Energy Transition: The shift from coal to diesel has dramatically increased Artica’s emissions. This underscores the need for local authorities to accelerate efforts toward renewable energy solutions.
• Freight & Materials: As Artica expands its programming, we must continue seeking low-carbon shipping options and sustainable materials.
• Sustainability in Residencies: In 2025, we will build on the NAARCA Sustainability Toolkit for Artists’ Residencies, ensuring that Artica remains at the forefront of sustainable arts programming in the Arctic.
While 2024 has seen an increase in overall emissions, our longterm environmental strategy is clear: reduce travel frequency, improve efficiency, and advocate for sustainable infrastructure in Longyearbyen. We remain committed to cutting our carbon footprint and ensuring that Artica Svalbard operates responsibly in one of the most climate-sensitive regions on the planet.
NEWS FROM ARTICA’S ALUMNI
Artica Svalbard’s residencies are designed to foster long-term engagement, and many of our former residents continue to develop and expand on the projects they began in Svalbard. Whether through exhibitions, publications, or film screenings, their work reaches audiences worldwide, bringing Arctic themes into broader cultural conversations.
In 2024, several Artica alumni made significant contributions across literature, visual art, and film. From books examining geopolitical tensions to exhibitions exploring climate change, the impact of their time in Svalbard continues to resonate. Below are some of the highlights from this year’s alumni activities.
Emma Stibbon
Artist Emma Stibbon, who was a resident at Artica Svalbard in 2019, presented her first major UK institutional solo exhibition, Melting Ice | Rising Tides, at Towner Eastbourne in May 2024. The show examines the impact of polar ice melt on global landscapes, connecting her Arctic research to wider environmental changes.
Rikke Luther
Artist Rikke Luther opened Dust & Flow at Gotland Art Museum in Sweden, featuring works developed during her Artica Svalbard residency in 2023. The exhibition explores the environmental impacts of climate change in the Arctic, focusing on the shifting dynamics of water, land, and air in response to global ecological transformations.
Ruth Maclennan
Artist Ruth Maclennan’s film GOOD WINTER! was featured in the World Weather Network, a global climate reporting initiative. Filmed during her 2023 Artica residency, the work captures a fleeting seasonal transition in Svalbard, alongside local researchers studying migratory birds.
Emma Stibbon in Svalbard.
Trine Hamran
Writer Trine Hamran released Hybridkrig: Hvordan russisk aggresjon setter Norge på prøve, published by Spartacus Forlag. Developed in part during her 2023 residency at Artica Svalbard, the book examines the growing threats of hybrid warfare in Norway and beyond, highlighting the geopolitical challenges facing the Arctic region.
Jessica MacMillan
Artist Jessica MacMillan’s project Time Line was featured in Infinity – Emptiness – Liveliness at Planetarium Hamburg (January 2024–May 2025). First developed during her 2021 residency at Artica Svalbard, Time Line uses a high-powered laser to mark the trajectory of our solar system, inspired by Arctic geodetic research and deep-time planetary motion.
Time Line by Jessica MacMillan, Photo: Preben Irgens
LOOKING AHEAD: ARTICA SVALBARD IN 2025
In 2025, Artica Svalbard will refine and expand its residency programme, deepen partnerships, and continue to develop
a public programme that responds to the urgent cultural, geopolitical, and environmental issues shaping Svalbard today.
Following the success of our pilot in 2024, we will officially launch our first full round of Independently-Funded Residencies in 2025. These residencies welcome artists, cultural practitioners, writers, and researchers from all disciplines and career stages who secure financial support through academic institutions, public funders, foundations, or private means. Applicants must demonstrate a clear and compelling need to work in Svalbard, ensuring that projects align with our mission to foster artistic exploration and critical engagement with the Arctic.
To strengthen the impact of our residency programme, we are transitioning to a revised nomination process with our partner institutions. In spring 2025, we will call for 2026 nominations, and in early winter 2025, we will open nominations for 2027. This shift responds to a recognised need for better planning and preparation, ensuring that residents can maximise their time in Svalbard. By allowing for a 12–18 month planning window, we can better align residencies with the most suitable time of year for each project, support residents in securing additional funding where needed, and provide a more structured onboarding process. This is part of a broader effort to ensure that all residents arrive as well-prepared as possible—including initiatives such as our newly developed residency resources page, which provides essential guidance on logistics, environmental considerations, and community engagement. These improvements will create stronger foundations for every residency, increasing the potential for meaningful exchange, deeper engagement, and lasting outcomes from their time at Artica Svalbard.
We will also be building upon ongoing partnerships that strengthen our place within the North, Arctic regions, and nationally, working with partners in Norway and beyond. Our linked public programme of dynamic, engaging, and inspirational talks, workshops, and larger-scale events with local and international partners will focus on the key issues facing Svalbard and the Arctic regions. As geopolitical tensions in the Arctic intensify, these initiatives will provide critical spaces for discussion, artistic exploration, and knowledge-sharing on the urgent issues shaping Svalbard and the wider region.
Confirmed Residents for 2025 (to date)
Nominated by Office for Contemporary Art Norway (OCA)
• Cléa Darnaud – French printmaker and illustrator exploring landscape, memory, and travel.
• Bianca Hisse & Christian Danielewitz – An interdisciplinary duo exploring geopolitics, resource extraction, and environmental change.
Nominated by Norwegian Non-Fiction Writers and Translators Association (NFFO)
• Siri Helle – Norwegian non-fiction writer focusing on rural life, environmental sustainability, and craftsmanship.
• Ragnhild Bjørnsen – Norwegian researcher examining childhood in hypermobile communities, including Longyearbyen.
Nominated by Nordnorsk Kunstmuseum
• Malin Arnell & Mar Fjell – Swedish and Norwegian artists working with performance, queer theory, and social engagement.
• Simon Daniel Tegnander Wenzel – Artist working at the intersection of materiality, sound, and spatial exploration.
Nominated by The Queen Sonja Print Award (QSPA)
• Tomas Colbengtson – Sami artist using printmaking to explore indigenous identity and colonial histories.
• Nicole Cecilia Delgado & Amanda Hernández (LA IMPRESORA) – Puerto Rican artists and publishers engaging with poetry, identity, and print culture.
Independently Funded Residents
• Katie Paterson – Scottish conceptual artist known for her work with deep time, cosmic phenomena, and environmental change.
• Mhairi Killin – Scottish visual artist investigating the intersections of landscape, culture, and environmental change.
• Lilian Kroth – Swiss postdoctoral researcher investigating remote sensing technologies and icy environments through art and philosophy.
• Sanne Moedt and Floortje Zonneveld – Dutch ecologist and artist duo exploring the intersection of science and creativity in Arctic research.
• Amy Hoagland – American sculptor creating installations that explore human-nature relationships and sustainability.
• Endi Poskovic – Bosnian-American printmaker exploring memory, displacement, and cultural identity through intricate lithographs.
• VestAndPage (Verena Stenke & Andrea Pagnes) – A collaborative artist duo working across performance, film, and writing.
PLANS FOR 2025: PROJECTS
In 2025, Artica Svalbard deepens its focus on critical Arctic issues through new projects on deep-sea mining in the Barents Sea, climate action, and crossborder artistic collaboration, fostering dialogue and impactful change.
NAARCA: Expanding Collaboration & Public Engagement
NAARCA has secured funding from the Nordic Culture Fund’s Globus Forward grant for another two years of collaboration. The programme’s open call received 73 applications, with 9 initiatives granted funding. NAARCA will receive 500,000 DKK to continue developing its work as a Nordic-Scottish alliance, focusing on:
Residency and staff exchanges to deepen collaboration and knowledge-sharing across the network.
Capacity building initiatives to strengthen institutional sustainability practices.
Public programming to share NAARCA’s educational toolkits in all network languages, including indigenous languages.
Publishing the NAARCA essay commissions as a limited edition booklet, distributed to libraries, education centres, and cultural networks.
These next steps will broaden NAARCA’s impact, ensuring its climate-conscious initiatives reach wider audiences and create lasting change within the residency sector.
Representatives from all of the NAARCA collaborators at the 2024 Saari Well. Photo: Jussi Virkkumaa
Artica Writings 2025: Beneath the Surface – Deep Sea Mining in the Arctic
As global demand for critical minerals rises, the Arctic has become a new frontier for resource extraction. Norway’s potential decision to permit deep-sea mining in the Barents Sea has sparked significant debate, particularly given the region’s fragile ecosystems and geopolitical sensitivity.
In response, Artica Svalbard will dedicate its 2025 Artica Writings series to exploring the environmental, political, and ethical implications of deep-sea mining in the Arctic. This collection of essays will feature expert perspectives on marine ecology, international law, Arctic governance, and environmental ethics, offering a comprehensive exploration of the challenges posed by industrial activity in these sensitive waters.
Essay Themes & Key Focus Areas
• Ecological and Environmental Consequences – Marine biologists will examine the impact of seabed disruption, sediment pollution, and potential biodiversity loss in Arctic waters.
Geopolitical and Legal Ramifications – Analysts will explore how deep-sea mining could increase tensions in the Barents Sea, a contested space between Norway and Russia.
Social and Economic Effects on Svalbard – Local stakeholders will assess how mining might affect fisheries, tourism, and the regional economy.
Climate Change and Environmental Ethics – Climate scientists and ethicists will discuss whether industrial activity in the Arctic can be justified in the face of accelerated warming.
Artica Svalbard’s work is made possible through the generous support of our funders, whose commitment to arts, culture, and critical discourse enables us to sustain a dynamic residency programme, public events, and collaborative projects. We extend our sincere gratitude to:
• Norwegian Ministry of Culture and Equality
• Fritt Ord
Sparebankstiftelsen SpareBank 1 Nord-Norge
Residency Nominating Partners
Artica Svalbard’s residency programme is supported by leading cultural institutions that nominate artists, writers, and researchers whose work aligns with our mission of fostering artistic, literary, and cultural exchange in the Arctic.
Nordnorsk Kunstmuseum (NNKM)
NNKM strengthens the visual arts in Northern Norway, with a focus on Sámi perspectives and Arctic narratives. Through exhibitions and residencies, it supports artists exploring the region’s cultural and environmental identity.
The Norwegian Nonfiction Writers’ and Translators’ Association (NFFO)
NFFO advocates for nonfiction writers and translators in Norway, providing funding and support. Its partnership with Artica Svalbard enables writers to engage with Arctic themes, contributing to critical discussions on geopolitics, history, and climate.
Office for Contemporary Art Norway (OCA)
OCA advances contemporary art in Norway and internationally, supporting projects that intersect with activism and social change. Through Artica Svalbard, OCA fosters artistic engagement with the Arctic’s shifting geopolitical and environmental landscape.
The Queen Sonja Print Award (QSPA)
Founded by Queen Sonja of Norway, QSPA is the world’s leading award for printmaking. Its partnership with Artica Svalbard provides printmakers the opportunity to explore new techniques and respond to Arctic narratives.
The Nordic Alliance Of Artists’ Residencies On Climate Action (NAARCA)
As a founding member of NAARCA, Artica Svalbard is part of a pioneering network dedicated to integrating climate-conscious practices into the residency sector. In collaboration with:
• Cove Park (Scotland)
• Saari Residence (Finland)
• Art Hub Copenhagen (Denmark)
• Baltic Art Center (Sweden)
• Narsaq International Research Station (Greenland)
• Skaftfell Art Center (Iceland)
Together, these organisations drive cross-border artistic collaboration, knowledge-sharing, and climate action across the Nordic and Scottish Arctic regions.
Local Collaborators & Community Engagement
Artica Svalbard’s public programme and community outreach are enriched through collaborations with key local institutions:
• Svalbardposten
• Svalbard Museum
• Longyearbyen Lokalstyre
• Nordover Arts Centre
• Svalbard Library
• Svalbard Folkehøgskole
• Longyearbyen School
• Arctic Chamber Music Festival
These partnerships help facilitate talks, exhibitions, workshops, and knowledge exchange between visiting residents and the Longyearbyen community.
Staff Team (2024)
Artica Svalbard operates with a small but highly dedicated team: two full-time and one part-time staff members. With no sick leave taken in 2024, our team has worked at full capacity throughout the year, often beyond regular hours, with weekends and evenings frequently required to meet the demands of our growing programme. The reality is that Artica does not have the resources to fully sustain the scale of work we do within our existing staff structure. Much of what we achieve is only possible due to the extraordinary commitment of our team, freelancers, and volunteers who go above and beyond for the organisation. In 2024, we relied on 26 volunteers who generously gave their time and skills to support events, residencies, and community initiatives. Without their contributions, much of Artica’s public programme simply would not be possible. To ensure that Artica can continue to grow and deliver high-quality programming, additional support for staffing is increasingly important. Strengthening our team will allow us to sustain and expand our impact, ensuring a more balanced workload while continuing to provide world-class opportunities for artists, writers, and the local community.
• Charlotte Hetherington – Director
Lisa Bakk Bøen – Residency & Studio Coordinator (left in June 2024)
• Sally Hovelsø – Residency & Community Coordinator (started in October 2024)
• Tom Warner – Marketing & Communications Manager (part-time)
Board Members
Artica Svalbard’s board provides strategic oversight, ensuring the organisation remains at the forefront of Arctic cultural initiatives:
• Anne Berit Figenschau – Chair of the Board, Director of Innovation Norway Arctic (Tromsø)
• Jan Martin Berg – Independent art consultant (Tromsø)
