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Norway digitally freezes national treasures and stores them in Arctic archive

Norway’s National Museum has preserved some of the country’s most treasured artefacts digitally and stored them in a former mine on Arctic archipelago Svalbard.

Published: 11 November 2020 16:58 CET

Norway digitally freezes national treasures and stores them in Arctic archive

Photo: Bartek Luks on Unsplash

The Arctic World Archive was originally constructed in 2017 to “protect the world’s most important cultural relics”, the National Museum said on its website.

The data preservation facility is located on the island of Spitsbergen, part of the Svalbard archipelago, not far from the Svalbard Global Seed Vault.

The National Museum has now placed its entire collection of around 400,000 items as digital copies on plastic film rolls, which are to be stored at the Longyearbyen site.

“The dry, cold and low-oxygen air gives optimal conditions for storing digital archives and the film rolls will have a lifetime of around 1,000 years in the archive,” the museum writes. Emissions emitted by the archive are low due to its low energy consumption.

Offline storage of the archives also insures them against cyber attacks, the museum said.

In addition to all data from the National Museum collection database, high-resolution digital images of works by selected artists are included in the archive.

Works to be stored include ‘The Scream’ by Edvard Munch, ‘Winter Night in the Mountains’ by Harald Sohlberg, the Baldishol Tapestry and Queen Maud’s ball dress.

“At the National Museum we have works from antiquity until today. We work with the same perspective on the future. The collection is not only ours, but also belongs to the generations after us,” National Museum director Karin Hindsbo said via the museum’s website.

“By storing a copy of the entire collection in the Arctic World Archive, we are making sure the art will be safe for many centuries,” Hindsbo added.

In addition to the Norwegian artefacts, organisations from 15 other countries are represented in the archive, including national museums in Mexico, Brazil and India; the Vatican library, Sweden’s Moderna Museet and Unicef.

READ ALSO: Norway's Arctic 'doomsday vault' stocks up on 60,000 more food seeds

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African-born director's new vision for Berlin cultural magnet

The “Haus der Kulturen der Welt” (House of World Cultures), or HKW, was built by the Americans in 1956 during the Cold War for propaganda purposes, at a time when Germany was still divided.

New director Ndikung said it had been located “strategically” so that people on the other side of the Berlin Wall, in the then-communist East, could see it.

This was “representing freedom” but “from the Western perspective”, the 46-year-old told AFP.

Now Ndikung, born in Cameroon before coming to study in Germany 26 years ago, wants to transform it into a place filled with “different cultures of the world”.

The centre, by the river Spree, is known locally as the “pregnant oyster” due to its sweeping, curved roof. It does not have its own collections but is home to exhibition rooms and a 1,000-seat auditorium.

It reopened in June after renovations, and Ndikung’s first project “Quilombismo” fits in with his aims of expanding the centre’s offerings.

The exhibition takes its name from the Brazilian term “Quilombo”, referring to the communities formed in the 17th century by African slaves, who fled to remote parts of the South American country.

Throughout the summer, there will also be performances, concerts, films, discussions and an exhibition of contemporary art from post-colonial societies across Africa, the Americas, Asia and Oceania.

‘Rethink the space’

“We have been trying to… rethink the space. We invited artists to paint walls… even the floor,” Ndikung said.

And part of the “Quilombismo” exhibition can be found glued to the floor -African braids laced together, a symbol of liberation for black people, which was created by Zimbabwean artist Nontsikelelo Mutiti.

According to Ndikung, African slaves on plantations sometimes plaited their hair in certain ways as a kind of coded message to those seeking to escape, showing them which direction to head.

READ ALSO: Germany hands back looted artefacts to Nigeria

His quest for aestheticism is reflected in his appearance: with a colourful suit and headgear, as well as huge rings on his fingers, he rarely goes unnoticed.

During his interview with AFP, Ndikung was wearing a green scarf and cap, a blue-ish jacket and big, sky-blue shoes.

With a doctorate in medical biology, he used to work as an engineer before devoting himself to art.

In 2010, he founded the Savvy Gallery in Berlin, bringing together art from the West and elsewhere, and in 2017 was one of the curators of Documenta, a prestigious contemporary art event in the German city of Kassel.

Convinced of the belief that history “has been written by a particular type of people, mostly white and men,” Ndikung has had all the rooms in the HKW renamed after women.

These are figures who have “done something important in the advancement of the world” but were “erased” from history, he added. Among them is Frenchwoman Paulette Nardal, born in Martinique in 1896.

She helped inspire the creation of the “negritude” movement, which aimed to develop black literary consciousness, and was the first black woman to study at the Sorbonne in Paris.

Reassessing history

Ndikung’s appointment at the HKW comes as awareness grows in Germany about its colonial past, which has long been overshadowed by the atrocities committed during the era of Adolf Hitler’s Nazis.

Berlin has in recent years started returning looted objects to African countries which it occupied in the early 20th century — Burundi, Rwanda, Tanzania, Namibia and Cameroon.

“It’s long overdue,” said Ndikung.

He was born in Cameroon’s capital, Yaounde, into an anglophone family.

The country is majority francophone but also home to an anglophone minority and has faced deadly unrest in English-speaking areas, where armed insurgents are fighting to establish an independent homeland.

One of his dreams is to open a museum in Cameroon “bringing together historical and contemporary objects” from different countries, he said.

He would love to locate it in Bamenda, the capital of Cameroon’s restive Northwest region.

“But there is a war in Bamenda, so I can’t,” he says.

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