tupilakosaurus - Print matters!
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tupilakosaurus - Print matters!
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Countryside – Naasunik<br />
nunamillu ikkusasuineq.<br />
2005<br />
naapippaa arnaq upperinnilluinnartoq<br />
nunami qaarsuinnangajaasumi<br />
naasut kusanarnerpaat<br />
naatinneqarsinnaasut kaffip<br />
tangikui naammattut siaruarteraanni.<br />
Inuttut misigisaq taanna oqaluttuariallaqqissutsikkutinissinneqarpoqsanilliunneqarsinnaasunngorluni<br />
tyskip naasulerituup<br />
upperalugu takorluugaanut,<br />
tassalu nunami naasoqarfiusinnaanngingajattumi<br />
naasunik<br />
nutaanik nassaarnissaq. Pitsaalluinnartumikilusilerneqarnermigut<br />
uani kattunneqarput<br />
qaamasumit sunnigaq – kaffi,<br />
naasut takorluuinerlu – illuatungaanilu<br />
ilisimasassarsiornernit<br />
oqaluttuat – nunasiaateqalerneq,<br />
takornartanngortitsineq<br />
isumatusaarnerlu – taamalu<br />
kajungernartumik immikkuullarissutsimik<br />
unammillernarsilluni<br />
uagutsinnut nunaannaap alianaassusianikassigiiaaginnartumik<br />
isiginninniartarnitsinnut.<br />
Anders Jørgensen<br />
Pia Arke & Anders Jørgensen. Countryside –<br />
An installation about flowers and land. 2005<br />
The tone shifts from white<br />
to an Arctic snowscape – a<br />
German voice-over says<br />
that this is the “Liverpool<br />
Coast”. The voice speaks<br />
of the tremendous cold radiating<br />
from the northern<br />
Arctic Ocean, which means<br />
that nowhere is there a<br />
coherent vegetation cover.<br />
The German text sets<br />
its mark on the picture.<br />
Especially the heading<br />
“Flora” attracts attention,<br />
while the ice panorama<br />
disappears and a brownish<br />
powder drips down over a<br />
stony background in slowmotion.<br />
This is how the work<br />
Countryside – An installation<br />
about flowers and land<br />
opens. It was to be Pia<br />
Arke’s last video installation,<br />
her last idiosyncratically<br />
angled portrait<br />
of the place to which her<br />
thoughts always returned –<br />
Scoresbysund. In contrast<br />
to the demanding work on<br />
Stories from Scoresbysund<br />
(Borgen Publishers, 2003),<br />
the work on the installation<br />
was a source of direct<br />
pleasure for Arke and one<br />
can see Countryside as an<br />
aesthetic meditation on<br />
beauty – as a necessary<br />
premise for our lives.<br />
The expeditionary theme is<br />
the departing point for an<br />
exploration of the relations<br />
between history on a broad<br />
scale and the history of the<br />
individual – or the history<br />
of science and history at a<br />
personal level. During her<br />
research in Scoresbysund<br />
Arke met a Greenlandic<br />
woman’s indomitable belief<br />
that she could get the most<br />
beautiful flowers to appear<br />
by sowing them in copious<br />
amounts of coffee grounds.<br />
As an inspired narrative<br />
device this personal story<br />
is related to the German<br />
botanist’s indomitable<br />
dream of finding new species<br />
of plants despite the<br />
minimal life conditions<br />
that the locality offers.<br />
The pleasure aspect – the<br />
coffee, the flowers, the<br />
dream – is thus brilliantly<br />
combined with expeditionary<br />
history – colonisation,<br />
alienation and rationality<br />
– to form a compelling<br />
Arketypical challenge to<br />
our ability to maintain our<br />
idyllic stereotypes of life in<br />
natural surroundings.<br />
Anders Jørgensen<br />
29
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