The Barry Lopez Foundation for Art & Environment introduces its traveling exhibition program with an installation of two videos by Janet Biggs—Warning Shot, 2016, and Brightness All Around, 2011. Biggs’ work is a clarion call for a heroic landscape, one that will be completely transformed within our lifetimes. As the subject of centuries of exploration by Europe and the New World, the Arctic was once seen as indifferent to human enterprise, so vast and inhospitable as to be immune to any imposition. But the fossil fuel and mining industries established a firm hold in the twentieth century, and climate change is projected to leave Arctic summers ice-free within thirty years. Perhaps no other landscape that has figured so firmly in our imagination will disappear with so few of us having the opportunity to see it in person.
Warning Shot is an alarm and an elegy. Filmed on Svalbard, a Norwegian archipelago halfway between Europe and the North Pole, it memorializes a simple performative act in a vast landscape with few witnesses. Silhouetted by the profile of coastal mountains, a solitary figure enters the frozen landscape and fires a flare toward the horizon. Warning Shot is elegant, somber, and heartbreaking. It also allows for hope, honoring the importance of bearing witness to what will be lost and returning with not with an admonition, but rather the invitation to consider what, if any, action can be taken.
Brightness All Around was also filmed on Svalbard, at the Sveagruva coal mine, run by Store Norske, a Norwegian mining company formed in 1916. Like Warning Shot, it trades on the tension between imagination and reality, quickly unseating our expectations about the Arctic as a pristine wilderness. The video focuses on Linda Norberg, a female coal miner working in inaccessible and dangerous surroundings. Norberg begins each day by descending miles beneath the frozen Arctic. Besieged by deafening machinery and relying on a small headlamp for light, she is seen drilling and bolting a newly excavated cave ceiling into place in freezing temperatures and suffocating darkness. Serving as a counterpoint to the terror of Norberg’s underground landscape is a vocal performance by New York music guru Bill Coleman. Sexual, seductive, and aggressive, his presence feels every bit as menacing as Norberg’s surroundings. Using lyrics taken from near-death experiences, Coleman becomes a witness to our struggle to maintain a sense of self, just as Norberg is challenged by the physical and emotional isolation of the mine. While there seems to be little connection between Norberg and Coleman at first, his appearance is every bit a shock to the system as the Sveagruva mine, a jarring imposition that shatters the mythology of an uninhabited Arctic, reminding us that even thousands of miles away, our footprint sits heavily upon the land.