Curatorial proposal

From the Contemporary Art in the Global (MSc School of Oriental and African Studies)

WE.LIVE.INDARKTIMES

Artists: Derek Walcott, Mark Rothko, Frank Bowling, Atsuho Tanaka, Sammi Baloji

The project visits the theme of darkness as it is approached by the selected artists through painting, poetry, installation art and photography. Dark times have for centuries been associated with the Dark Ages, the victorian times, the plague, III Reich, and the Crusades. Is darkness created in the name of God to entice a journey in reflection?
Darkness in this exhibition will be visited through the artists’ own periods and reflections of darkness. Starting with the more recent Baloji’s photographs have a strong post-environmental sentiment, yet all artists reflect on humanity’s over-consuming framework of aimless societal misappropriations maintained by irrelevance.
The artworks date from post-war period, aligned with the more recent works of Baloji’s diptych, for the provision of a bridging point on perpetual concerns about the loss of communities, citizenship and human rights that have been exaggerated, yet feel less visual, for the absence of blood.
The art on show reflects as much today, as they did at the time of making, that we are entering an autumn of social conscience exasperated by the informality and misappropriation of technology coercing the psyches onto a temporal loss and inaction.
Yet there must be resistance. Art is also a mirror up to the society, ourselves, in hope each individual visiting this exhibition will reflect a little and make a small step of resistance that translates into a big change.
When we don’t speak, we maintain darkness. Northwest indigenous communities have talked of ‘silence’ as a skill. ‘Silence’ used in diplomacy can present a show of arrogance or absence as in demonstration against what I’d said. Against that theory, words presented hide the things that happen in silence, including their potential to tell a different story.
Bringing artworks made by Rothko, Bowling, Tanaka, Walcott, and Baloji together distinctively plays to the audience responses, being of equal therapeutic importance as they were to the artists at the time of making. The five artworks have incredible ‘enlightening’ power’, offering a quiet introspective space for soul searching.
We would like visitors to individual notice which one artwork they are drawn to on their individual experiential pattern route, free from want and free from fear.

ARTWORK SELECTION

  1. Rothko. M, ‘Orange and Yellow’, 1956:

Rothko “Silence is so accurate.”
Yellow and orange make green; green the colour signifying life, renewal, growth, fertility, harmony, nature, freshness, energy, and safety. Rothko never wanted association with any art movement however he was pigeonholed as an abstract expressionist. The simplicity of Orange and Yellow cannot go without noting the technical challenge of keeping the colours separate so they don’t produce green. Is the artist pointing out that we are in the process of exploring our spirituality, and have not reached a harmonious existence yet?
A quest for ascension, Orange and Yellow has a ritualistic quality to the universe framed within the shuttle golden Buddhist orange outline. His work has often been described for its meditative qualities whilst remaining large, and non representational.
Barney Newman, the man inspired title of Frank Bowling’s work in the exhibition, saw himself as a political artist who has also shown his work outside Rothko’s Chapel in Houston, Texas.

  1. Bowling. F, ‘Who’s afraid of Barney Newman’, 1968

The painting is another major African flag colour representation Bowling is known for. Bowling is of Guyanese descent, a descendant of a slave, still surrounded by racism and race assumptions with participation in the First World Festival of Negro Arts, whilst being the first black artist elected in the Royal Academy of Arts with the artist recently receiving an OBE, continuing the colonial mode of tradition. His work was also shown at Afro Modern exhibition at Tate Liverpool in 2010’s, for significance the port of Liverpool having hosted the largest number of slave trade shipments in England.
The question is does Bowling rebel or commercialise further the idea of Africa in a place of exoticism and colonial frames? ‘Who’s afraid of Barney Newman’ was made in 1968, placed two years after the Guyanese independence from the British. Was Bowling raising awareness at a time when slave trade destinations were gaining independence from colonial rule?

  1. Tanaka, A. ‘Electric dress’ 1956

Atsuko Tanaka had one said “I wanted to shatter stable beauty with my work,” highlighting how domestic objects are but beautiful and disruptive from the lack of presence, yet plethora of being.
Tanaka’s silence covered by the bulbs in the original artwork, from a position of an emerging arts movement, could have represented silence as an imposition for a projection of power. In international relations frameworks, silence is mostly imposed by psychological violence, affecting the corporal of the most vulnerable, women, people of colour and those not integrated in the functionality of post Colonialism, and neoliberalism in the global and constitute political discourses and practice. (Dingli, Bhambra and Shilliam, 2009)

  1. Walcott, D. ‘Love after Love’, 1948–1984

Undoubtedly there is a pause in Walcott’s ‘Love after Love’ poem. Who inspired the poet to write this? Is it advice, or as I have always read this, as a love poem to oneself?
Derek Walcott passed away two years ago and his sea breeze of poetry is a timeless reminder to leave the insecurities we all carry, behind, and just be.
The meditative quality in the thought of spending time with oneself is not unlike Rothko’s iconographical ‘Orange and Yellow’.
Does it really matter who’s heart is broken or who broke whose heart? If anything, the world would become a better place if each and everyone reflected on the poem a little every day. After all, through love there’s light and the light lost in things that don’t work, is light lost.

  1. Baloji, S. ‘Kumbuka’, 2003

Stylistically ethnographical, the photographer has removed the orientalism and exoticism of indigenous communities, removed the smiles and colours and yellow grey toned the landscape, to represent Congolese as the Congolese see themselves. In this diptych he has interestingly kept women seperate to men. He plays with the Primitivist Theory of the artist as an ethnographer, whilst placing it in a contemporary context.
Artwork Labels

orange-and-yellow(1)6721995702035878555.jpgImage from eu.art.com
Rothko’s goal was “the elimination of all obstacles between the painter and the idea, and between the idea and the observer.” Rothko was known to suffer depression, reflected by the frame as a limit to happiness. Rothko was Latvian and Russian who went to primary and high school in Portland, Oregon – the ‘weird’ US city because of its rebel inquisitive population. His work invites the viewer to explore ‘metaphysical realities of their own consciousness’. The red a reflection emotional forces fighting nature a sea of blood at sunset, framed in limitation, stopping time, a photograph. The mesmerising quality of this work, is attracting attention even for non believers. The quality of light and Rothko’s interest in creating light reflects his religious iconographic approach to his frames.

t12244_10190182530184748032.jpgImage from https://www.wikiart.org/en/frank-bowling/who-s-afraid-of-barney-newman-1968
Bowling has expressed his frustration in an interview with Laura Barnett for the Guardian: “It seemed that everyone was expecting me to paint some kind of protest art out of postcolonial discussion. For a while I fell for it.”
The Rastafarian flag of green yellow and orange, signifying the displaced africans living in exile as a result of the slave trade. Unlike Rothko’s clearly defined frames, Bowling’s use of colours is blending into one, another around the edges and without affecting or altering the core of the three colours. Could the merging of colours also point to different ethnicities merging into one in the Caribbean and South America, as a result of colonial rule. Think of the children of Chinese, Indian, Syrian and Spanish immigrants on post-colonial lands, the ‘dougla’, the ‘koolie’, the ‘red skin spanish’.
Or did he attempt to define frayed around the edges, maybe from wear and tear?
The impact of slavery remains as unaddressed as it was in 1968 as it is today. Microaggressions are all apparent. The artist, a slave descendant, opposed the idea of representing Caribbean art.

Electric DressImage from youtube https://www.youtube.com/watch?v=wUV-v3xI7Lw
Atsuho Tanaka’s electric dress, still lighting gallery spaces and discussions across the world, even after the artist’s death, in a timeless manner, originally the bulbs laid to cover her body, now exhibited without it.
In the West, a Christmas tree is something beautiful, pretty and a tacky representation of a happy time.
Tanaka was one of the more influential Gutai art movement artists, believed by many to deserve the leadership position within the rebellious post-war Japanese artist group, a but hindered from it due to her being a woman.
Tanaka’s work is symbolic to false light, untruth, prettiness by misrepresentation, a wonderful objectification of many beliefs changing and evolving in the years the work was created.
When the artist wore the artwork, around 200 light bulbs flickered every two and half minutes, like a pulsating body, inviting the viewer to view it a ‘living’ being without consideration of the being inside. Gutai translates as ‘concreteness’ born from a society that advocated for the loss of individualism.

love-after-love7742550341063638439.jpgImage from https://www.christystich.com/blog/2016/2/4/my-most-treasured-poem
Derek Walcott passed away less than two years ago, a Caribbean child of a slave, lived most of his life in Trinidad and St Lucia, and was awarded with the Nobel Prize in 1990’s.
Walcott’s poem is a reminder of being one with ourselves, salvaging ourselves with acts of faith ‘Give wine. Give Bread’ playacting Jesus proclamation of memory in the act of sharing love towards a progression towards oneself to a place where our reflection in the mirror doesn’t feel ugly or drained anymore, but celebratory.
Walcott’s exploration of European and African cultural adaptations within the Caribbean, and the multiculturality of the West Indies is reflected throughout his work. Walcott’s poem has a nostalgia about the mistake of trying to fit in other people’s shoes, and when ‘The time will come’ as in the time we will be ready or will be forced upon us to reflect in being at peace with oneself reminding us it is entirely achievable as ‘Sit. Feast on your life.’ is one of the few things in life left we have entire freedom to do on our own.

1-sammy-825x5106533298255495888239.jpgImages from #sammybaloji instagram page
Sammy Baloji is a Democratic Republic of Congo born photographer working internationally, with photographs represented in a wide range high profile african art fairs and collective exhibitions.
Born in a country known for the inherent political fragility, threat to human life, animal habitat and near extinction of species. His work is very much representing a colour code for how DRC is seen abroad and how it feels to Congolese people from within the country.
Baloji having participated in Venice Bienalle in an exhibition on Belgium’s colonial rule, he notes sharing and learning about a specific time period “To talk about our reality, and also to dream.”

Checklist:

  1. Mark Rothko, (b. 1903, Daugavpils, Latvia), Orange and Yellow, 1956, 231.1 x 180.3 cm, Albright-Knox Art Gallery, Buffalo, NY, US
  2. Frank Bowling, (b. 1934 , Bartica, Guyana), Who’s Afraid of Barney Newman, 1968, acrylic paint on canvas, 236.4 x 129.5 cm, Tate
  3. Atsuho Tanaka, (b. 1932, Osaka, Osaka Prefecture, Japan), Electric Dress, 1956, 165 X 80 X 80 cm, courtesy of Museum of Contemporary Art, Tokyo
  4. Derek Walcott (b. 1930, Castries, Saint Lucia), Love After Love, Collected Poems, 1948–1984
  5. Sammy Baloji (b.1978, Lumumbashi, Democratic Republic of Congo), Kumbuka!, 2006, Photo collage, various venues)

Bibliography:

  1. Foster, H., Marcus, G. and Myers, F. (1995). The Traffic in Culture. California: University of California Press, pp.302-309.
  2. Bishop, C. (2006). The Social Turn; Collaboration and its Discontents. Artforum International.
  3. Project, S., Bourn, J. and Bourn, J. (2019). Meaning of The Color Green |. [online] Bourn Creative. Available at: https://www.bourncreative.com/meaning-of-the-color-green/ [Accessed 9 Jan. 2019].
  4. New.diaspora-artists.net. (2019). Diaspora-artists: View details. [online] Available at: http://new.diaspora-artists.net/display_item.php?id=928&table=artefacts [Accessed 9 Jan. 2019].
  5. En.m.wikipedia.org. (2019). Frank Bowling. [online] Available at: https://en.m.wikipedia.org/wiki/Frank_Bowling [Accessed 9 Jan. 2019].
  6. Artnet.com. (2019). Atsuko Tanaka | artnet. [online] Available at: http://www.artnet.com/artists/atsuko-tanaka/ [Accessed 9 Jan. 2019].
  7. Dingli, S. (2015). We need to talk about silence: Re-examining silence in International Relations theory. European Journal of International Relations, 21(4), pp.721-742.
  8. Haus Der Kunst. (2019). Electric Dress. [online] Available at: https://postwar.hausderkunst.de/en/artworks-artists/artworks/electric-dress [Accessed 9 Jan. 2019].
  9. Liverpoolmuseums.org.uk. (2019). Ports of the Transatlantic slave trade – International Slavery Museum, Liverpool museums. [online] Available at: http://www.liverpoolmuseums.org.uk/ism/resources/slave_trade_ports.aspx [Accessed 9 Jan. 2019].
  10. visibleproject. (2019). Kumbuka!. [online] Available at: https://www.visibleproject.org/blog/project/kumbuka/ [Accessed 9 Jan. 2019].
  11. Barcio, P. (2018). Achieving Luminescence – Mark Rothko’s Orange and Yellow. [online] IdeelArt.com. Available at: https://www.ideelart.com/magazine/mark-rothko-orange-and-yellow [Accessed 9 Jan. 2019].
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Informalisation of labour in Developing Countries, the case of Sierra Leone

In autumn 2018, I made an in-class presentation at the SOAS, University of London Faculty of Law & Social Sciences Department of Development Studies for the GLOBALISATION AND DEVELOPMENT module on the topic of the informalisation of Labour in Developing Countries.

Contrary to expectations, informal labour relations have not disappeared but have been reproduced and incorporated into globalised production circuits.

The presentation covered the main theories on the topic with a focus on the case of Sierra Leonian mining work.Informalisation of labour in developing countries G&D presentationInformalisation of labour in developing countries G&D presentation (1)Informalisation of labour in developing countries G&D presentation (2)Informalisation of labour in developing countries G&D presentation (3)Informalisation of labour in developing countries G&D presentation (4)Informalisation of labour in developing countries G&D presentation (5)Informalisation of labour in developing countries G&D presentation (6)Informalisation of labour in developing countries G&D presentation (7)

 

 

Chefchaouen, the blue pearl of north Morocco.

Chefchaouen is the perfect day or weekend trip on your travels in Morocco.

Famous for the blue painted buildings, more recently featured on French Montana’s ‘Famous’ videoclip

https://www.youtube.com/watch?v=LNHkxOU7zz8 that was filmed in the souks and circular main road around the town sitting on the mountain side. The 33 year old  moroccan-american artist is from the Casablanca and often pays tribute to his love for Morocco.

Back to Chefchaouen, the town is easily navigable by foot, but not wheelchair users, or for those with mobility difficulties. Built on the mountain side, souk and town streets climb up and down through the mountain curves, offering exquisite views over the town and the landscape beyond.

Chefchaouen is one of the easier villages to travel through Morocco. It is small enough to walk through in a day, and big enough that you can find another photogenic corner to help you on your dream-scape of what life may be like in the town, or in-fact to those that grow up in the alleys and buildings, protected by the elements and near everything else.

Here are some of the photos from our visit, we arrived on a cloudy and rainy day, yet it was also wonderful to see the town in non-postcard conditions, a different, and what felt more genuine side of life there. Rain gently encouraged us to go into the local cafe, not the tourist ones, and to get lost around the back streets to a school, trying to find a way through to the main square.

Chefchaouen’s location is equally impressive nesting on the mountain feet, reminds you of the perspectives on life which is so easy to forget when bouncing about between places in a city.

You could say Chefchaouen becomes the little blue light, twilight, dream-scape of adventure.

London Art Fair review

The London Art Fair is a unique opportunity to summarise what is happening in the high end gallery led art scene around the globe in that one year.

The collective in London hosted most of the main brand galleries representing mainly visual arts, with some sculpture and three dimensional work for sale, in the case where 3d was the only medium the artist worked in.

This year there were surprisingly a lot of trees, and in similar shapes. This made me wonder if there was a synchronicity between the artists but then again most of the works were made at different time frames. Yet the shape of the tree was prevailing over and over again.

Another repetitive feature was the cut out Victorian style book illustrations turned mini 3d landscapes. Is there a return to the kind of darkness that books enlighten through the imagination?

The artists that stood out are:

Elle Davies for the greenness of the forest shots. Did she go for the exotication of green spaces?

https://elliedavies.co.uk

Michael Ormerod for his American urban. landscapes washing out the impact of capitalism.

https://www.cranekalmanbrighton.com/photographer-category/20th-century-photographers/michael-ormerod/

Nicholas Feldmeyer for his stunning post apocalyptic digitally produced black and white landscapes.

http://www.feldmeyer.ch/index.php?page=290

Ian Berry’s jeans made 3d frame of Roosevelt Hotel.

http://www.ianberry.org

Karma, and kindness, is a bitch

I’m one to preach loudly and stand for what I believe.

I’m the one that I will point to injustice.

I am the one that tonight also feel bad for pointing the finger at someone who I have contrary views to while they put themselves in the public eye to defend those views even though they are ‘out there’.

I don’t like confrontation but learning to present what I believe in more confidently.

Yet that’s only possible when the other party stretches out so they can hear clearer.

Because without that, nothing would ever be possible.

The post is devoted to my day today at the School of Oriental and African Studies, yet it is written with an individual in mind, unrelated to my day at the university, yet being a member of the uni.

They surprised me beyond all expectations.

I suppose, that’s the true Soasian style.

Camden, for the soul

On the first chilly day of autumn, I walked out of the house for work to find my brain clicking into Camden cravings.

I’m not talking about the food options, the bashing vibes, the shopping or drinking ports.

That would be too much detail.

I’m talking about the warming feeling I get when I’m here.

In Camden Town, at sunset, on a crisp day. It feels like belonging, it feels like home.

I could climb under the cobble stones and sleep there for the night.

And wake up to crawl back up from beneath them, to see Camden in sunrise.

Tragedy, in the home of tragedies

This summer I went to Epidaurus (/ ˌ ɛ p ɪ ˈ d ɔː r ə s /; Ancient Greek: Ἐπίδαυρος Epidauros) was a small city in ancient Greece, on the Argolid Peninsula at the Saronic Gulf, because I always wanted to watch an greek tragedy in the ancient Greek open air theatre.

I picked the play Elektra because it is a classic and a true tragedy, set in the city of Argos a few years after the Trojan War, it recounts the tale of Electra and the vengeance that she and her brother Orestes take on their mother Clytemnestra and step father Aegisthus for the murder of their father, Agamemnon.

The play was directed by a relatively new director, Thanos Papakonstantinou, who has found increasing attention, in a relatively short space of time, and in a very competitive genre.

I really loved the drive to Epidaurus, in the late afternoon, nearing sunset, travelling through the mountains with many other thousands, for the one purpose, to be at this venue and watch an ancient play. My expectations were close to none, as it would have been my first experience. I only assumed, Elektra would have been translated into a slightly more modern version, as many other cultural references and movements in Greece nowadays do.

I only realized the enormity of the crowds gathering there when I saw the size of the carpark and the queues when we got to the theatre gates. The ancient stone carved and built space welcomed us with a stage made in the same shape of its roundness, all in white with a round hole cut out on the white backdrop, linking the stage with the backdrop, by steep dramatic steps.

Epidavros

The tragedy begun and it was a disorienting and confusing experience. There were women covered in see through cloths, moving effortlessly like on-screen ghosts from the 70’s era. They reminded me of Catholicism and that became even more apparent as the play evolved. They were judgmental and backbones-less. The main character squeaked and screamed in unconnected personas making it even more uncomfortable. Yes she was going through a huge trauma however she did not need to be portrayed in such a misogynistic way. She was neither a woman, nor a devil. She was bitter and lost but the character portrayed was uncharacteristically poltergeisted for the pain and revenge she was planning. The whole lot of the other characters played out the same, they were either too weak or a copycat of Dracula like comicon characters that lacked dimension – this was a huge disappointment. The director could have played out the roles much more and did not think about their human element. It felt like he imposed his impression of the story on the actors. This left me with the impression the actors did not connect with the Director, and that is was pretty obvious he had made little effort to collaborate them even between them.

At the end of the tragedy, a bigger one happened. As the actors were bowing to their audience and receiving lots of thanks, the director, Thanos Papakonstantinou, went to the stage, dressed in an outfit resembling a German soldier outfit from the 2nd world war.

I did not find that funny or creative. I understood well his tendency to associate with the dark wave movement in Athens, after all I once was part of it too and remember al the boys getting excited with memorabilia, only to find themselves very isolated in the end. His choice was distasteful and inappropriate given we are at the verge of fascism all over Europe.

Thanos Papakonstantinou, failed on all fronts. It sounds like someone is pushing him to the front stage, however unqualified.  The Greek economy may be small, and opportunists like him can get attention and success, however Greece doesn’t deserve people like him mocking the situation (this is not a creative license, whatever he may come up to say) and fueling the division in our society further.

I wish to not see Thanos Papakonstantinou getting opportunities any day soon and for greek stages to host the original grassroots talent that exists but doesn’t try to buy in their way, through controversy. This is not USA, and there is no reason to be wearing an offensive outfit, not un-similar to Melania Trump’s ‘I don’t care’ outfit as she visited the children immigrant detention centres.

It’s Carnaval again

For anyone finding themselves in Trinidad for carnival this time of the year, there is one thing you will be doing for sure: drinking all day, and some more.
Even without the alcohol, Trini carnival is a mind boggling experience. You would have passed the long queues at arrivals at Port of Spain International without being fleeced by some dodgy border official, through to the non descriptive arrivals hall, maybe welcomed by the sound of steel pan, if you are lucky.
Finding yourself in Port of Spain or Arima or San Fernando, in the morning, among the peeps taking the slow moving vibes about their business, requires a couple of cheeky doubles on your way to your business of visiting mas camps, passing steel pan yards, buying tickets for all inclusive fetes in town.

The fetes would have been happening for over a month prior and mas camps are just making small size adjustments, with hours before bands hitting the road.

J’ouvert, the morning of carnival. Fear the blue devils blowing fires and hustling you with their tricks. Start 1am at St James. Dress in your worse, you will land somewhere around downtown even worse for wear, at sunrise or well after. The only things you need: drink, money to buy more drink, and someone to give you a ride home to your nearest friendly friend’s breakfast welcome and bed. Just don’t follow some guys up to Laventille, there are other places to drive through for that waterfall sobering bath.

With Jouvert done you are well on your way through the Trini carnival experience. If you can, climb up the hills of Paramin for their local jab jab Moko Jumbies J’ouvert. It is really out of this world walking between the village corners for yet another jab performance literally crawling down or up the steepest roads and paths you will ever see. If not grown up in the north coast, only drive in a jeep and with a local driver. Family cars driven by tourists abandon all hope. Taxi maxi, privately hired is another respectable method of arrival. I fell in love at jab in Paramin.

North Coast is not too far if you want to wash the petrol and paint off your skin with a sea bath. Just don’t drink and drive.

Carnival Monday and Tuesday are kiddies and adults days respectively. I don’t think there is much difference other than the kiddies go through town from what I remember whereas adults move faster to the Savannah and St Anne’s. Unquestionably you will see the best, biggest, most elegantly handcrafted pieces of mas on those days. For medium and large costumes the sheer weight of them on the masqueraders is a notable achievement in itself. When I first went to Trini Peter Minshal was the winning name of masquerade. Incredibly really talented artists have made Trinidad their home. Chris Ofili and Peter Doig are some among those.

I always thought of Ash Wednesday as an anti climax, not for one cause I stayed in the North Coast were thousands of people descent to hang out en mass by any sound system audible from anytime 8am onwards, to also whine and drink.

Then a fight kicks off, and another, so less people hang around and it all becomes sort of local again. Handed back to the really slow paced sunny humid sweet tasting bake n shark self. For the small but safe surf, head to Las Cuevas.

Tromso, a guide to Arctic Norway’s far north.

This enchanting Arctic city is exceptionally easy to get to since Norwegian and SAS fly there. Tromso airport is a mere twelve minutes on the commuter bus from the city centre.

The airport is much smaller than you may have imagined. Think of a greek island kind of set up. Just a few more doors between the outside and entrance lobby to keep the heat in and cold out.

I booked a waterside air bnb on the northern outskirts, in gorgeous Kroken, and the connecting bus took just over fifteen minutes from Tromsø sentrum.

Night view of Tromsø from Kroken in winter

Voila, I was, in what felt like the countryside, on the frozen seaside, with the sound of crisp lapping waves surrounded by the warm neighbourhood feel.

Making navigation easy, ie avoiding waiting for a bus for more than five minutes in the Arctic cold, I recommend downloading the following two apps from Google store. Tromsmobilett will store your ticket or travel card which you can purchase through the app. Troms Reise is the local bus departure/arrival and bus planner app.

Northern lights safaris are very popular but on clear sky nights, you really just want to be keeping an eye out to the sky, and walking away from the street lights. The cable car is open until 11pm in the winter, so you could add an edge to your experience, for a fraction of the cost of a safari.

Northern Lights from the coast

Whale seeking is also popular, however as much as I would love to see them, I am not sure of this relationship dynamic so maybe I will be lucky to pass them coincidentally at some point in my life.

The snow here is different. Given you take a trip outside Tromso, you will notice the difference. It is different to the snow in Oslo or anywhere else for that matter. I can only describe it like white glistening gold.

Winter dusk in Tromso

When the northern lights, or aurora borealis, start their wild and unpredictable dance, my first thought was that of water colour paint soaking the paper, or a gymnast’s cord following a complimentary flow.

Going up to the mountain on the cable car is really worth the 190nok. I am not one for a tourist’s gimmick, and almost skipped that. Having done it, I couldn’t have asked for a more splendidly arctic experience with the option of being back in the cradle of the Tromso town within half hour. One tip, to avoid any confusion, although cars run every half hour. If you get there at a busy time, try queing up as they only sell tickets ten minutes before boarding. The views from the top towards the mountains are lunar.

The view towards the north from the mountain behind the cable car in Tromso

Tromso island and the fjords between the mountains are a feast. Try getting there in the morning and by lunchtime for the most dramatic light effects as the sun is just about caressing the tops of the mountains, at midday in the winter. It is the experience of a lifetime.

Tromso is super safe and cute. Don’t be afraid to walk endlessly to the outskirts.

My super cozy self contained air bnb by the water in Kroken meant I didn’t need to spend hours on an aurora safari and could pop out every hour or so after 10pm to look out for the lights, going back for a cup of hot drink and a snack, before returning back to the outside, even really late into the night.

At 10pm, on the dot, the northern lights or aurora borealis would come out and put on their mesmerising dance. It only required walking to the end of my street past the glare of the street lights to absorb it at its the best. Plus being near the water and walking alongside a snowed over beach is something out of this world in itself and something I had not experienced before.

Aurora Borealis in Arctic Norway

Back in Tromso, a warming coffee and bagel, are to be had in my favourite cafe, Lugar 34. I just hoped the coffee was served in a bigger cup. Tip, head for the upstairs and let the surroundings warm you up from times past. I could have spent all afternoon there but things to see and do.

If you are on a budget or only there for a couple of days and have limited time, take the commuter ferry from Tromso to the fjords and islands. In the winter it is worth waking up for the really early morning ones, so you can see the most of the fjords for 240nok. You will be back in Tromso in a couple of hours which means you still have time for the cable car, the art museum and a cafe or pub or two.

Ferry port, Tromsø

For budget nordic household design pieces head to Kremmerhuset where you will find ceramics and home furnishings in affordable prices. Plus it is in a mall in the centre which means you can use the bathroom and warm up. There is even a restaurant with bay views at the top but didn’t have the time to see for myself.

Out of the two Kaffebonas you will get the best views looking out to the Arctic Cathedral, the sea and the mountains beyond, at the one on Stortorget.

For more views, and dramatic architecture, do visit the Arctic Cathedral. I also recommend walking the length of the bridge for an amazing perspective through the fjord. Warning, although you are caged in the bridge does rattle and creak which may not be for the fainthearted. I am particularly bad with heights however got used to it after a few minutes, and a lot of internal reasoning.

When I went to the Art Museum there was an exhibition on surrealism. I loved the curated text and really chimed with contemporary politics. It basically said something along the lines of… ‘in our times of fake news and misrepresentation, surrealism is more true than it has ever been before. Does that mean that our reality has never been this surreal?’

The story of the northern lights is that they are particles which have been charged through a solar storm, and lit up because the north and south poles are the least protected areas on the globe.

Maybe that explains why in a small place like Tromsø there is a lot of enlightenment, let it be in the tiny yet well represented religious communities, the honest portraying of the Sami people and their portrayals of the intruding scadi people, in art old and contemporary, to the apparent open mindness and chilled out attitude of the modern Tromsøeans.

Here is a short video from the airplane taking off

I really hate goodbyes especially from places that unlock iconic moments on the way my brain works and heart ticks.

Tromso in one of the coldest places on earth, makes it for one hell of a warm welcome.