Anastasia (A) Alevtin & Elina Waage Mikalsen
Designed and printed by Roby Redgrave / Fantasy Print House
Available as an open access PDF and limited edition risograph pamphlet (print run of 100 copies)
Fieding Climate Change: A Cranky Score For (One’s Politics Of) Curiosity was commissioned by Bioart Society following Anastasia (A) Alevtin’s and Elina Waage Mikalsen’s contributions to Field_Notes: Living Methodologies, a field lab at the Kilpisjärvi Biological Station in Gilbbesjávri, Sápmi in 2025, which sought to attend to how we research matters. This publication is a commitment to continuing the discourses, but more importantly, practices and ethical relations of fieldworking in the context of Gilbbesjávri.
Posed as an invitation for those participating in our Ars Bioarctica residency, the publication takes the form of a pocket companion – a portable score that can accompany (not only Ars Bioarctica participants but) anyone engaging in fieldworking and site-responsive work.
Alevtin and Mikalsen sit with the notion of curiosity from two structurally different positions in relation to Gilbbesjávri, bioart, fieldwork, and research (stations) but with shared—crip and Sámi—commitments to shift material arrangements of the world that make climate change urgent. With their score ask others to do the same, taking curiosity seriously and figuring it as an affective political drive that moves bodies to make and work its fields in particular ways.
This score is not a prescription but an invitation the authors posed to each other and now extend to you—an invitation to sit with curiosity and reflect on its politics in the context of residencies, fieldworking and other forms of situated practices, with the intention of tending to your field and to you fielding it.
The open aceess PDF will be availabe online after the launch on 1st October
Anastasia (A) Alevtin is a Helsinki-based theorist and artist working across spoken-word performance, screenwriting, media art, and collective reading. Drawing on their background in Gender Studies, they work with bodies, their ambivalence and material brilliance, affect and crip theory for inquiries into how huge structures and histories (which are always currents) flesh out in our queercrip and migrant/migratised guts, senses, sensations, and capacities to affect and be affected. (A) inquires into how power shapes our ordinary living and how we may press back upon it right from where we sit. This way, they seek to notice and amplify quiet and non-apparent subversions (Schalk 2018, 124; Dokumaci 2023, 253) of various Western and colonial/imperial bodily normativities, which complement all the other (louder) organised resistive efforts.
Elina Waage Mikalsen is a Sámi artist and musician living in Romssa, Tromsø, in the northern Norwegian side of Sápmi. She works across many media and materials, including textiles, video, performance, text, and installation, with a core interest in sound. Sound is the material and the philosophical topic Elina keeps coming back to. She runs Šuvva, a platform for experimental music, sound, and listening from a Sámi perspective. Through this platform, she creates meeting places for listening, performing and discussing sound. Elina’s work is about creating lines between dots, connecting stories and tales she has heard and looking into archives of different kinds. It’s often about the body, land, and song, and how they’re connected.