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ISSITTUMI SILAARUT- TUTUT KAMANNEQ issitsinikkut, suiaassuseq apeqqutaanngilaq. Suiaassuseq pinngortitaanerlu Freud isumaliutaanut tunoqqutsilluni takkuttarpoq. Kinguaassiutitigut piumassuseq immikkoortunut marlunnut immikkoortikkamiuk, immikkut illuatungeriissillugik nassuiaatigineqarsinnaasunut: Angutip iliuuseqarnikkut arnallu uninngasumik kinguaassiutitigut piumassuseqarnerinut. Puuttarnerup nassuiarneqarnermigut silarsuaq iliuuseqanngitsutut misigisarmagu, ilimagisap qanganitsap atuutileqqinnissaa ungasinngilaq, puunneq – issittuni allaniluunniit kiannerusuni atuuttartoq – tassa arnani atuunnerusartoq. Saqqummersitap immikkoortuani uani neriuutigaarput takutissallugu, nunasiaateqarnerup isumaliortaatsikkut naqisimannittaasia ammip qalipaataannaannik atortoqanngimmat, kisialli aamma kinguaassiutikkut isiginnittaatsikkut immikkut ittukkut, tassa inuianni ingasattajaartumik arnaassuseqarneranik isiginnittaaseq. Allatut oqaatigalugu nunasiaateqarniat tamatigut nunat inoqqaavisa inooriaasii arnarpalunnermik takutitsisutut isiginiartarsimavaat, taamalu isiginnittaatsip nassataralugu nammineq aallaavitsik anguterpaluttuusoq. Taama isiginnittaaseqarnerup nassataraa kulturini taakkunani allatut isumaasinnaasut sakkukillisarneqartarneri iml. eqqaanaveersaarneqartarneri. Taama isiginnittaatsimi nunat inoqqaavini angutit angutaassuseqanngillat. Arnarpasillutilli iliuuseqassanatik. Arnartaalli tamani suli iliuuseqannginnerusarlutik. Taamaalilluni ammip qalipaataa suiaassuserlu naapertorlugit naqisimannittarneq isumaliortarnermut sanileriillutik tunngaviuinnaratik, aammali naqisimannittarnermi assingusuullutik sakkuupput, atorneqartarnermikkut imminnut piorsaqatigiittartut. Ileqqut taakku arlaannaalluunniit salliutinngikkaluarlugu Arkep misissorniarsimavai, pissaaneq naligiinnginnerlu suiaassutsip, kinguaassiutitigut piumassuseqarnerup, utoqqaassutsip, inuiaqatigiinni inissisimanerup, iliuuseqarsinaanerup (timikkut tarnikkullu) kiisalu inuiaassutsip kinaassuserneqartarneranut qanoq atorneqartarneri misissorsimallugu. Arkemut ilisarnaataasumik misissuineq tamanna kinaassutsinut inuiaqatigiillu inuit arnartaasa timaannut isiginnittaatsit akornanni naapiffiit alianartuugatillu, persuarsiornaratillu killisimaarnanngillat. Paasinninnermilli qaninneraluni tissinarluni ilaatigullu quianarsinnaalluni. Isikkummi suussuseq takutittanngilaa. Issittumi silaaruttutut kamanneq issittuni ilisimasassarsiortut amernik ingasaallugu oqorsaasersorsimasut tunuani toqqukkanik ima angitigisumik kusanartigisoqarpoq, soorlu sanianiittut issittumi isiginnaagassiat-takutitsisut pinngortinneqarnerminni nunasiaanerullu pitsaanerpaannik tunniussaannik kusanassuseq takutikkaat. THEME SECTION 3: ARCTIC HYSTERIA This section takes its immediate point of departure in a work from 1997 titled Arctic Hysteria (sometimes also referred to as Arctic Hysteria IV). It was the perhaps most exotic of the many fruits born of Pia Arke’s investigations of the phenomenon – and in a further sense of the interaction between gender and colonisation. It may seem surprising but this aspect of her work is strikingly absent from the analyses, critiques and curatorial concepts that her oeuvre has so far occasioned. Nonetheless there are myriads of women in Arke’s pictorial universe – dressed, undressed, stripped, old, young, dumbstruck, in love. You name it. And it teems with virtues that have traditionally masculine connotations – like polar exploration, mapmaking, hunting and photography. Perhaps this is related to the fact that ethnicity, “race” and originality are stronger markers of “otherness” than gender? Or, rather, that it is asking too much of Western thinking to expect it to think both categories together and not just focus either on gender or on ethnicity. What ever the explanation, “Arctic hysteria” is a concept in psychopathology; a Western scientific tradition that concerns itself with how psychic disorders arise, and how they are expressed in the form of symptoms and personal characteristics. More precisely, it is a designation for a so-called culturally conditioned state that is thought to manifest itself especially in winter and mostly in Inuit women living north of the Polar Circle. The symptoms are terrifying in themselves: hysteria, depression, eating faeces, insensitivity to severe cold and the senseless repetition of overheard words. For many years it had been thought that hysteria was a psychic state that was due to a uterine disorder The father of the art of medicine, Hippocrates, explained that hysteria was caused by the womb that in its longing to be impregnated begins to wander around in the body. Freud later demonstrated the falsity of this assumption and succeeded in placing the womb in the position it occupies today. Instead he determined that hysteria was due to the inadequate repression of sexual violations or merely conflicts between sexual wishes and inner prohibitions in childhood. In this explanatory model the violation and the conflict reappear in the adult in the form of hysterical symptoms. This is in fact a causal explanation that has nothing to do with gender really. But in Freud gender and biology nevertheless sneak in through the backdoor. For the domain of sexuality is divided here into two exhaustive and mutually exclusive categories: active male and passive female sexuality. As the hysteric, by definition, experiences the world passively, it is not far to the reinstatement of the antique thesis that hysteria – whether it is Arctic or of a more temperate nature – is a typically female phenomenon. With this section we hope to negotiate the idea that colonialism’s most important form of repression is not only racism, but also the special form of sexism contained in the hyper-feminisation of the ethnic woman. In other words, colonialists have consistently read the cultures of indigenous peoples as signs of femininity, while the culture of the metropole was of course read as masculine. The elements in both cultures that conflicted with this system have accordingly been downplayed or repressed. In this optic the men of the original peoples were not proper men. On the contrary, they were feminine and passive. However, the most passive of all were the indigenous women. Racism and sexism are therefore not just ideologies, living next door to one another, but also related forms of oppression, that help to create and maintain one another. Without declaring adherence to any particular critical tradition Arke nevertheless investigated how power and inequality seem to be constant ingredients in the recipe for such categories of identity as gender, sexuality, age, class, functionality (of body and mind) and ethnicity. It was characteristic of Arke that the investigation of the intersection for all these identities and ideologies in the body of the Inuit woman becomes neither tragic, nor pathetic, nor sentimental. Rather, it is empathic, humorous and at times ironic. For appearances can be deceptive, as we know. And behind the exaggeratedly fur-clad polar explorers in Arctic Hysteria there is concealed just as much naked beauty as the Arctic nudes standing at their side had been so copiously endowed with by nature’s and colonialism’s hand. 23
Pia Arke. Krabbe/Jensen. 1997 Med sin sammenstilling af tre approprierede fotografier – to fra Th.N. Krabbes bog Grønland. Dets Natur, Beboere og Historie fra 1929 og et taget af telegrafist Sven Lund Jensen i Østgrønland i 1947 – skaber Pia Arke et helt nyt værk. Vi afkoder let de to sort-hvide billeder som “etnografiske”, dvs. billeder af “fremmede”, ikke-europæiske folk, taget af en europæer i den hensigt at dokumentere eksistensen af det pågældende folk og dets særegenhed. Hvor fotografen selv er usynlig, er de to østgrønlændere i bogstaveligste forstand stillet til skue. Det er stærke, flertydige billeder. Personerne står fastfrosset i deres positur, formentlig opstillet af fotografen. Men de giver sig ikke betingelsesløst hen; der er en direkthed i deres blikke, som brænder sig fast og udfordrer beskueren. Samtidig er der noget ubehageligt ved det. Især kvindens nøgenhed har en snert af overgreb. Vi er fjernt fra den erotiserende fascination af “naturmennesker”, som præger europæisk malerkunst. Begge billeder fremstår som nøgternt registrerende. Vi har at gøre med et stykke naturvidenskabelig dokumentation af mennesker, lidt som sommerfugle spiddet på deres nåle. Den virkning forstærker kunstneren med billedet i midten. Det er mere amatøragtigt og har karakter af et snap shot, selv om den unge kvinde helt klart poserer for fotografen. Der er tale om en helt anden form for “privat” fotografi. Fotografen har ønsket sig et billede af netop denne kvinde, og den nøgterne distance, som præger de to andre billeder, 24 er derfor her afløst af nærvær og kommunikation. Kvinden smiler imødekommende og vipper koket – måske lidt genert – med tæerne i sine kamikker. Fotografens etnicitet er ikke længere vigtig. Men vi kan gætte, at han nok er mand, og at han er forelsket. Med kontrasten mellem dette billede og de to andre stiller kunstneren spørgsmål især til de to sort-hvide billeder og den form for kulturmøde, de repræsenterer. Fordi fotografen så åbenlyst er til stede i det midterste billede, selv om vi ikke kan se ham, får vi også øje på fotografen i de to andre billeder. Dermed mister han sin autoritet som objektiv registrant. Vi kan pludselig stille spørgsmål til hans tilstedeværelse. Hvem var han? Med hvilken ret stillede han sine “objekter” op på den måde? Hvad tænkte de pågældende? Hvorfor medvirkede de? Hvilken form for kommunikation fandt der sted før og efter, at billedet blev taget? Ved på den måde at bringe to typer af fotografi i konflikt og dialog med hinanden åbner Arke for en postkolonial fortolkning af de velkendte gamle fotografier, som er afbilledet igen og igen, uden at nogen har sat spørgsmålstegn ved den form for repræsentation og dominans, som de er udtryk for. Billederne er ikke længere neutrale fremstillinger af en bestemt “kultur”, men resultatet af et stærkt asymmetrisk kulturmøde, hvor den ene part med sit blik bemægtiger sig den anden og tager sig retten til at definere ham og hende. Eller i hvert fald prøver på det. Kirsten Thisted Pia Arke. Krabbe/Jensen. Assinik pigilersimasaminik pingasunik – marluk Th.N. Krabbep atuakkiaanit Grønland. Dets Natur, Beboere og Historie 1929-meersumit ataaserlu nalunaarasuartaaserisup Sven Lund Jensenip Tunumi 1947-mi assilisaa – sanileriissitsinermigut Pia Arke nutaarluinnarmik saqqummersitsivoq. Assit qalipaaateqanngitsut ingerlaannaq paasisinnaavavut tassaasut “inuit kulturiannik ileqquinillu ilisimatusarnertut”, tassa “takornartat”, europamiuunngitsut, europamiumit assilineqarsimasut, siunertaralugu inuit taakku ilumut tassaniinnerannik allaaqutaanillu uppernarsaatissatut. Assiliisoq nammineq takussaanngilaq, tunumiulli marluk oqaatigilluaannarlugu takusassianngortinneqarput. Assit sakkortuut assigiinngitsunik paasineqarsinnaasut. Inuttaat ilutsimikkut qeratarpalupput, qularnanngitsumik assiliisumit taama peqquneqarlutik. Taamaattoq tunniutiinnavissimanngillat;toqqaallutik isiginnipput, isiginnaartumut puiugassaajunnaarlutik unammillerlutillu. Taamaattoq aappaatigut nuanninngitsortaqarput. Pingaartumik arnap tamataqannginnera innarliinerpalaarpoq. “Nunap inutoqaanik” kajungernartutut alutorsarnitsinnit, europamiut qalipaasarnerminni malunnartinniartagaannit, ungaseqaagut. Assit taakku marluk tamarmik silatusaartumik isiginninniarluni takutitsiniaasuupput. Tassani pineqarpoq pinngortitamik ilisimatusartutut inunnik uppernarsaatissarsiorneq, pakkalussanut kappoqqummik kapineqarsimasunut assingukannersinnaasumik. Taama sunniuteqarnera eqqumiitsuliortup qeqqani assitaliussamigut sakkortusarpaa. Assi assiliisartuimmit assilineqarpasinngilaq imaaliallaannaq assilisaarpasilluni, naak arnaq inuusuttoq assilineqarnissaminut inissilluarsimagaluartoq. Taanna “nammineerluni” assilisaavoq allaalluinnartoq. Assiliisup kissaatigisimavaa arnaq taannarpiaq assiliumal-
Page 2 and 3: Kurateret af Kuratorisk Aktion i sa
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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 18 and 19: TUPILAKOSAURUS gunngisaannassaaq. S
Page 20 and 21: Itsarujussuarnisamik Kap Stosch-ime
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
Page 68 and 69: Skandinaviamiit. 1998 vik Skandinav
Page 70 and 71: 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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