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TUPILAKOSAURUS gunngisaannassaaq. Soorlumi Kirsten Thistedip erseqqissaraa: “…nunasiaatitaasut oqartussaasut pissusii issuarniaatigalugit pissutsit taakku pineqartup ilaatigut ‘oqartussaaffiiartarpai’: pissaaneqangaarnerannik arsaarlugit. Nunasiaatillit mitallernermut sioorasaarinermullu taamaattumut illersorsinnaanngillat: nunasiaatigineqartut sinnera ulikkaartarpaat namminneq pigisaminnik.” Tassa Arke arlariinniiginnarsimanngilaq – illuatungaani kalaaliusutut illuatungaanilu qallunaatut silarsuarmini. Aammali ilisimatuussutsip katersugaasiviillu oqartussaaneri naallerarpai. Malitassaqqissunik oqaasilioriaatsimigut killissaminillu qaangiinissaminik sioorasaarinermigut (eqqornerusumilluunniit issittumi silaaruttutut kamanneq – kingusinnerusukkut tikinneqarumaartoq) “inuiannullu ataneqmik” immersuinermigut katersugaasivik isaterpaa europamiut oqaluttuaata ilaatulli, oqarlunili oqaluttuat arlallit pineqartut – eqqortoq naakkittaatsoq ataasiinnaanngitsoq, tassaallutilli naakkittaatsumik isummernernik illuatungeriinnernillu imallit amerlaqisut, oqaluttuarujussuup imarisinnaanngilluinnagai. “Sioorasaarineq” immaqa erseqqinnerpaavoq videoliami Tupilakosaurus-imi (1999), saqqummersitsinermullumi uunga atsiunneqarsimalluni. Video immiunneqarsimavoq illuatungeriit amerlaqisut sammillugit: tupilak paarmortumut (-saurus), oqaluttuatoqqap inuttaa oqaluttuarisaanermik qanganitsamik ilisimatusarnermut, eqqumiitsuliortoq ilisimatuumut, arnaq angummut, nunap inuia qaammaasalimmut, inuk simersoq qaqortumik amilimmut, avammut iliuusilik silatusaartumut, timi ilisimasaqarnermut, susaq susumut, assigisaallu. Illuatungeriissitsinerit soorunami Arkep nassaarisarinngilai. Takusassiariinnarpaa uagut nunavissuarmiut eqqarsartaaserput, tassalu suulluunniit iluatungeqartut, illuatungeriillu imminnut mattuttartut. Arlariillutik ataatsimut peqatigiissinnaapput, aammali imminnut assortuussinnnaapput, kisiannili kattussinnaanngillat kattutinngisaannassallutillu. Eqqarsartaatsimut tassunga illuatungiliullugu Arke “tukattumik” periaasiliorpoq, taamalu siunertaqarluni eqqumiitsuliornermik ilisimatusarnermini ilannguppai pissusitoqqat “ilisimatuujunnginneq” aamma “kusanartulerinnginneq”: misigissutsit, eqqumiitsuliornikkut naleqanngissuseq, “inuiannut ataneq”, politikki kingunerlutsitsinerillu. Periaatsiminilumi ilisimatuussutsip naleqartitsinermi nammineer-sinnaassutsimik piumasaanik soqutiginninnginnermigut tarnikkulli erloqissuteqarnernik inunnillu ataasiakkaanik ilanngussinermigut pilersippaa – Juhl-ip paasisai issuaqqillugit – “kalaallit ilisimasamikkut itsarnisarsiornerat”. Inuit ataasiakkaat soorunami silinnerusumik paasineqassaaq, soorlu Erik Gantip eseqqissaraa “assilisaasa siunertarisimanngisaannannguatsiarpaat taakku namminneerlutik oqaluttuarnissaat. Akerlianik tassarpiaapput nammineq allallu akunnerminni siunertanik, isummiussinernik pimoorussinernillu nalunaaruteqaataasussat.” THEME SECTION 2: TUPILAKOSAURUS The theme section Tupilakosaurus looks at Pia Arke’s artistic method and illuminates some of the central problematics and devices that she worked with. It shows and reproduces works that mainly derive from an exhibition at the Museum of Contemporary Art in Roskilde in 1999, to which Arke contributed with a veritable exhibition within the exhibition. But it also contains a couple of thematically related black-and-white silver gelatine prints from the series Perlustrations 1-10 (1994) (sometimes also referred to as Nature Morte) and a showcase with research material that also points to vital features in Arke’s artistic research. All the works in An installation that has to do with histories, which was the title of her contribution to the exhibition in Roskilde, process a given issue of the series of scientific monographs Meddelelser om Grønland [Communications on Greenland], which, since 1878 and with two or three volumes each year, has published international research on Greenland and expedition reports from Greenland. More precisely the works take possession of the pictorial part of Geologist Eigil Nielsen’s treatise Tupilakosaurus heilmani n. g. et n. sp. from 1954 and remove the illustrations from their context – the scientific tradition, and in a further sense the colonial advances into foreign territories that have for centuries made the tradition possible – to place them inside the museum’s white cube. That Arke draws science into the space of art is not just a whim, but a carefully considered method designed to show whether the two phenomena could be thought to have pulled together in the same colonial direction; what their mutual relationship (historically and currently) looks like; and to what extent one can separate the two phenomena and put selected parts together to form a new and more useful practice that might be called artistic research. The strength of artistic research is, according to Carsten Juhl, that such research is conducted inside the subject being investigated and not above it as is customarily the case with research. It was precisely research of this kind that was involved in An installation that has to do with histories. The elements and the way they were installed were simple, stringent and of a considerable museological coolness. But all of a sudden over the entrance to the installation there hangs a big plucked thigh bone and breaks the illusion of the severely museal setting. The bone highlights Arke’s ambivalence: on the one hand, you are expected to practise in accordance with the norms in force. But, on the other hand, you as “ethnic” cannot transcend the category of “ethnic artist” and become an “artist” pure and simple. You can, in other words, mimic the Europeans, but in the nature of things never become just like them. For, as literary critic Kirsten Thisted points out: “…at the same time as the colonised mimic the forms of authority, they in a certain sense ‘de-authorise’ these forms: deprive them of their monumental power. Colonial authority cannot protect itself against this mockery and the threat that the colonised will fill out the text with their own content.” Thus, Arke did not just have a foot in each camp – one in her Greenlandic and the other in her Danish world. She also had a bone to pluck with the authority of science and the museum. With her choice of a canonised formal language and with the threat of going off the deep end (or rather going piblokto – but more about that later) and filling her form with “ethnic” content, she dismantles the museum as a piece of European history and says instead that it is a matter of several histories – not of one raw truth, but of raw quantities of meaningfulness and opposition that the big history is quite unable to contain. Perhaps the “threat” comes most clearly to expression in the video work Tupilakosaurus (1999) from which the present exhibition derives its name. The video is structured around a large number of binary oppositions: tupilak vs. reptile (-saurus), mythical figure vs. prehistoric science, artist vs. scientist, woman vs. man, original vs. civilised, coloured vs. white, dynamic vs. downto-earth, body vs. knowledge, object vs. subject, and so on. These are of course not polarisations that Arke has invented. She merely puts on stage a key concept in our continental philosophy that states that everything has its opposite, and that the oppositions are mutually exclusive. Together they can form a unit, and they can engage in conflict with one another, but they are and remain irreconcilable. To counter this mindset Arke developed a “messy” practice, in which she quite deliberately incorporated traditionally “unscientific” and “unaesthetic” quantities in her artistic research: feelings, kitsch, the “ethnic”, politics and the traumatic. And precisely because her practice disregarded the demands of science for value-free research and included involvement and the personal, she was able to set up a – to draw once again on Juhl’s insights – “Greenlandic archaeology of knowledge”. The personal, it should be noted, is to be understood in an expanded sense, for as critic Erik Gant points out: “it has probably never been the idea that her pictures should speak for themselves. On the contrary, they are meant to function precisely as the medium for all sorts of intentions, messages and commitments in the relation between herself and others.” 19
Pia Arke. En installation der handler om historier (Staven; Hammeren; Må kun berøres med tommelfinger og lillefinger; Tupilakosaurus. An interesting study about the triassic myth of Kap Stosch; og Uden titel (Knoglen)). 1999 I forbindelse med installationen En installation der handler om historier (1999) får Arke fat i en mængde korrekturark til selve billeddelen af Dr. Eigil Nielsens Tupilakosaurus heilmani n. g. et n. sp. An interesting batrachomorph from the Triassic of East Greenland og tager afhandlingen – der udkom i 1954 som en del af den videnskabelige monografiserie Meddelelser om Grønland – under kærlig kunstnerisk behandling. Hvad der synes at have fascineret Arke ved afhandlingen er især Nielsens navngivning af en 200 mill. år gammel urpadde efter den grønlandske myte om Tupilakmonstret. For hende et afgørende udsagn om, hvorledes Grønland snarere end et uberørt og rent sted er en konstruktion skabt af alle de fund, beskrivelser, billeder, kortlægninger og koloniseringer, som vestlige, og især danske, opdagelsesrejsende, missionærer og kolonisatorer har foretaget i landet. Som hun skrev til museet, hvor hun skulle udstille: “[Jeg vil både] have fat på de større strukturer i dansk forskningshistorie i Grønland, og omvendt vil [jeg] dykke ned i de dybere lag i selve ordet Tupilakosaurus … Det ene i Tupilak, som hører til tiden før Kristningen af grønlænderne, og deres mytiske verden. Det andet Saurus, som udfra et mere videnskabeligt synspunkt har med jordens skabelseshistorie at gøre.” I videoen Tupilakosaurus besøger kunstneren således Geologisk Museum i København, hvor hun tålmodigt lytter til afdelingslederens tørre historie om forgængeren og forbilledet Eigil Nielsen. En historie fortættet med latinske klassificeringsord om fundet af et triassisk hvirveldyr i Nordøstgrønland. Der krydsklippes til kunstneren, som håndfast håndterer og stabler billedkorrekturarkene til Nielsens afhandling, alt imens vi hører en oplæsning af Tupilakmyten, som i al korthed handler om en åndemaner, der laver en tupilak ud af forskellige dyre- og menneskeknogler (og andre, også mere 20 ædle dele), hvorefter han besjæler den, så den får overnaturlige kræfter. Parallellen til ovennævnte konstruktion af Grønland er iøjnefaldende. Arke fortalte forud for udstillingen: “Min metode vil ligesom indenfor al forskning og billedkunst være, at jeg objektiverer, i dette tilfælde, forskningshistorien i Grønland. Jeg opsøger dens lokaler og de mennesker, der knytter sig til den. Min idé med dette er bl.a. at undersøge forholdet mellem viden og ikke viden. Fordi hvad er det vi skal vide for at se billeder? Behøver vi vide noget? Skal vi vide noget?” På gulvet ved siden af videoen møder vi atter stakkene af billedkorrekturark i form af readymaden Må kun berøres med tommelfinger og lillefinger. Titlen, der er hentet fra Tupilak-myten, forekommer absurd i forhold til idéen om rationalitet og viden, som Nielsens afhandling repræsenterer. Titlen og videre myten kan slet ikke rummes heri. I Staven og Hammeren har Arke ikke blot adskilt billederne fra selve afhandlingen. Hun har også klippet dem ud af billedarkene og sat dem sammen til nye billedserier og -fortællinger, der nu udspiller sig på museal vis med passepartout og i ramme. Hvad sker der, når vi er overladt til billederne i sig selv? Og ikke mindst når de hentes fra et gammelt geologisk afhandlingsmateriale passivt hengemt i et lager og ind i æstetikkens rum? I Nielsens sammenblanding af det grønlandsk-folkloristiske og det græsk-videnskabelige i navngivningen af den Nordøstgrønlandske fossil – tupilak-o-saurus! – øjnede Arke et miskmask, som hun kunne bruge til kunstnerisk at skyde sig ind og skubbe til Vestens verdensbilleder og historieskrivning. Hun indtog så at sige “o’ets” plads i betegnelsen for derfra at kaste et granskende og temmelig afslørende blik på dem, der gransker Grønland. Mirjam Joensen & Kuratorisk Aktion Pia Arke. Oqaluttuarisaaneq pillugu ikkussuineq (Ajaappiaq; Kaataq; Taamaallaat kullumik eqeqqumillu attugassaq; Tupilakosaurus. Oqaluttuarisaaneq pillugu ikkussuineq-mik ikkussuinermut atatillugu pappialarpassuit kukkunersiuinermut atortut Arkep pissarsiarai Dr. Eigil Nielsenip allaatigisaata Tupilakosaurus heilmani n. g. et n. sp. An interesting batrachomorph from the Triassic of East Greenland-p – ilisimatuut misissuinerminnik saqqummersitsivigisartagaanni Meddelelser om Grønlandimi 1954-imi naqitap – assiliartai eqqumiitsuliortorpalaavilluni suliarileramigit. Arkep alutorinerpaasimagunarpaa Nielsenip allaatigisamini paarmortumik 200 mill.-inik pisoqaassusilimmik atsiisimanera kalaallit oqaluttuaanni oqaluttuarineqartartoq Tupilak atsiullugu. Tassuunakkut naqissuserneqarsoraa Kalaallit Nunaat atorneqanngitsutut minguitsutullu iinnarani piviusunngortinneqarsimasoq nassaarpassuarnit, allaatigisanit, assinit, nunap assiliornerinit nunasiaatigineqalernernillu, kitaamiut, pingaartumik danskit, ilisimasassarsiortut, ajoqersuiartortitat nunasiaatillillu nunami ingerlataannit. Soorlu katersugaasivimmut saqqummersitsivissaminut allattoq: “Itisilerniarpara danskit Kalaallit Nunaanni ilisimatusarnerisa oqaluttuassartaannik tarpaanissaq, paarlattuanillu oqaatsip Tupilakosaurus-ip nammineq isumaa itisilerniarlugu … Siulleq Tupilak, kalaallit kristumiunngunngikkallarnerannut, upperisarsiornerminni silarsuaannut, atasuusoq. Aappaa Saurus (paarmortoq) ilisimatuussusermit isigalugu nunarsuup pinngortitaaneranut tunngasuusoq.” Taamaalilluni eqqumiitsuliortup Tupilakosaurus-ip videoliarinerani Københavnimi Geologisk Museum pulaarpaa, naammagittarlunilu tusarnaarlugu immikkoortortami pisortap qasunartumik oqaluttuarigaa siulini malitassatullu isigisani Eigil Nielsen. Qimerlulimmik itsarujussuarnisamik Tunup avannaani nassaarnermik oqaluttuaq latinerisut oqaatsinik ulikkaartoq. Eqqumiitsuliortoq killuunneqarpoq, taassumalu Nielsenip allaaserisaata assitai pappialanut kukkunersiuinernut atorneqartartunut qajassuaatsumik katersorpai, tunuanilu tusaasinnaavarput Tupilak pillugu oqaluttuarpaluttoq, naatsumik oqaatigalugu oqaluttuarineqarpoq angakkoq tupilaliortoq, uumasut inuillu assigiinngitsut saarni (allallumi uinimmeersut) katiterlugit, kingornagullu sulluarlugu uummartikkaa, pissaaneqangaalersillugu. Kalaallit Nunaata qanoq sananeqarneranik siuliani oqaatigineqartumut assingunera erseqqeqaaq.
Page 2 and 3: Kurateret af Kuratorisk Aktion i sa
Page 4 and 5: 7 12 12 14 18 18 20 22 22 24 30 30
Page 6 and 7: At skubbe til historien: En introdu
Page 8 and 9: ersoqatigalugit, soorlu eqqumiitsul
Page 10 and 11: Arke’s Issue with Art, Ethnicity,
Page 12 and 13: OQALUTTUAP IMASSAANUT TOQQAMMAVISSA
Page 14 and 15: 1966-imut qiviarneq. 1989 sumiiffiu
Page 16 and 17: putuinnalimmik assilisat. 1988- gal
Page 20 and 21: Itsarujussuarnisamik Kap Stosch-ime
Page 22 and 23: ISSITTUMI SILAARUT- TUTUT KAMANNEQ
Page 24 and 25: 1997 lugu, taamaattumik silatusaart
Page 26 and 27: uttutut kamanneq. 1997 sigiinngitsi
Page 28 and 29: Countryside - Naasunik nunamillu ik
Page 30 and 31: “ETNOÆSTETIK” suuppai, eqqumii
Page 32 and 33: 1981-2006 limanngitsunik isiginninn
Page 34 and 35: 1993 misigitippaatigut soorlu saqqu
Page 36 and 37: 1995 (eqqumiitsuliortunngorsinnaane
Page 38 and 39: ITTOQQORTOORMIINIIT OQALUTTUAT sisa
Page 40 and 41: 1995-2003 reersut illoqarfimmut 199
Page 42 and 43: Jord til Scoresbysund. 1998 Ittoqqo
Page 44 and 45: artaateqarneq. 1996 Kisianni assit
Page 46 and 47: LegeNde lugu, ajornanngippallu alla
Page 48 and 49: gata pissaanera erseqqissaqqippaa.
Page 50 and 51: silisat nalunaarsorneqanngitsut).19
Page 52 and 53: NIAQQUP SAARNgI SAANI- KULLU QALLOR
Page 54 and 55: gitsut. 1990 tassalu assiliiviup sa
Page 56 and 57: taaneqartartoq Perlustrationer 1-10
Page 58 and 59: Assit, inulerneqarnerat nunap assil
Page 60 and 61: eSKIMUU SILANNgA- JAARTOg luni. Taa
Page 62 and 63: ISIKKIVIK SKANdINAVIAMIIT Polar Cen
Page 64 and 65: pineqaatissinneqarsimasut suleqatig
Page 66 and 67: suiffik, Emil, Ole aamma Asger. 199
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Skandinaviamiit. 1998 vik Skandinav
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uttutut kamanneq. 1996 “Issittumi
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31 x 25,5 cm, 26,3 x 32,5 cm og 31
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Untitled. C. 1992 4 x b/w photograp
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og Kulturvidenskabimi immikkoortort
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historier. Udsmykning for Danmarks
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Kayak - Contemporary Art from Green
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Poems (Fisker & Shou, 1997). I de s
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pimoorullugu akuliusimasuuvoq eqqum
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METTE JØRgENSEN is a teacher and w
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Sara Olsvigs korrekturlæsning af s
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who have generously lent us works f
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Fonde & Sponsorer / Aningaasaateqar
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Udstillingslokaliteter & Entré / i
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