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1993 misigitippaatigut soorlu saqqummersitsiviup iluaniittugut. Soorlu “nujuartat” pillugit sarsuatitaliarpassuarnisut, uanili nujuillisarneqaqqissaakkatut takutinneqarlutik. Guutiusullu tamanna katersuuffigaat. Ini pinngortippaat, uagut isiginnaartuusugut unittariaqalersilluta – takunnillutalu. Isigikkit eqqarsaatimikkut inissisimaneri oqariartuutaallu qimerloorlugu. Eqqumiitsuliaq tunissuteqarpoq tigusillunilu. Isiginnaartuusugut attuumassuseqartutut misigitilluta. Susunnimik tammartikkuminaatsumik naasaqartilerluta. Eqqumiitsuliap isiginnaartoq sunniuteqarfigaa, ingerlaqqinnermini eqqarsaataanut sunniuteqarluni – pissutsillu pillugit oqariartuuteqalersillugu. Eqqumiitsuliortup oqariartuutaa tassani paarlaateqatigiinnermi pinngorpoq, Arkep eqqumiitsuliaani De tre Gratier erseqqinnerusinnaagani. Guutiusut akerleriillutik piviusuliamiipput eqqumiitsuliornikkut nunanut killernut nunanullu inuiaassutsimik aallaavilinnut tikkuussillutik. Eqqumiitsuliaq isummanut imminut assortuuttunut ilisarnaatinngorpoq, kalaallit eqqumiitsuliaani tamanna takussaagajuttarpoq, inuiaassutsimik aallaaveqarluni eqqumiitsuliaq nammineq saqqummernermini inuiaassutsimut ilisarnaatitut eqqumiitsuliatulluimikkoortikkuminaassilluni. Arkep De tre Gratier aqqutigalugit imminut isummatigut assortuunnerup atorunnaarsinnaanera periarfissippaa. Assigiinngitsutigut akerleriittutut inissisimanermigut eqqumiitsuliaq kulturimut aallaavimminut uteqqippoq – anersaamigullu. Isigisaq nikisinngikkaluarlugu, eqqarsaatilli angerlamut uterteqqinneqarput, pissaanerlu nunasiaatilinnit pigineqarunnaarluni nunasiaasimasunit pigineqalerluni. Guutiliat isiginnaartoq aggersarpaat, aalajangersimasuinnarli tikillugu. Soorlu igalaamerngup saqqummersitsivimmiittut takutitap attorneqarnissaannut assersortarai. Sara Olsvig Pia Arke. The Three Graces. 1993 Should one embrace or reject? That’s what the Graces in Pia Arke’s photo work The Three Graces seem to be thinking. Reluctantly they hold objects that symbolise a special ethnicity and a special place of belonging. Reluctantly they let themselves be called “Graces” – three goddesses that in the Western art tradition represent such things as beauty, charm and creativity, and who were depicted absorbed in each other’s company and touching each other affectionately. Arke’s three Graces stand, in contrast, at a cool distance from one another, so that this obvious breach with the tradition becomes a visible sign of a showdown with the Western view of ethnic art. Just as reluctantly they seem to reveal a recognition that they are being used here as media for a state. The state of being between stages not in a hierarchical sense, but in an artistic sense. Of being between the stage where ethnographica are collected and exhibited as curiosities from distant regions for some more or less interested viewer, and the stage of being themselves – of being women in a modern world and art in a modern world at a time and in a place that are of no account. The Graces reflect themselves in themselves, then they turn their backs and eventually they stare at us. In so doing they make us – the viewers – the central factor in the work. They invite us to understand their standpoint. The photographs function as showcases in themselves. As when you are visiting an ethnographic museum looking at messages from the past filtered through the collector’s eye. Arke’s photos are clearly constructed in the same way, as small needles cut into bone or tooth, masks from different parts of a country, variations of pearl collars and skin trousers are laid out side by side behind the glass of the showcase. From this constructed reality the Graces takes the viewer towards a place that no longer exists. The photostat of a Greenland landscape in the background and the angle from which the picture was taken give a sense of being on a stage. As in one of the scenes in the innumerable films about “the savages”, but here domesticated down to the smallest detail. The Graces gather around this place. They create the space in which we viewers are forced to stop – and look. Look at them and view their standpoint and message. The work gives and it takes. It gives the viewer a sense of belonging. A taste in one’s mouth that cannot immediately be rinsed away. The work sets its mark on the viewer, and the viewer wanders on in her or his world enriched by this emotion – as a messenger for a state. The artist’s message is formed in this exchange, a relation that could not be depicted more clearly than Arke does in The Three Graces. There is a contradiction in the way the Graces in their constructed reality signal links both to Western art and to traditional ethnic art. The work becomes a symbol of the ambivalence that often envelops modern Greenlandic art, in which the ethnic expression in some contexts makes the object something in between ethnographica and art. With The Three Graces Arke succeeds in creating a space where there is no ambivalence. By being self-contradictory at a number of levels the work becomes an expression of the artist’s repatriation of art to her own culture – but at an existential level. Without the object being moved, it is the thoughts that are moved home and the power relation changes from having belonged to the colonial power to now belonging to the person who was colonised. Quietly the Graces allow the viewer to approach, but only to a certain point. As when the glass naturally rejects the touching of the objects in a showcase. Sara Olsvig 35
Pia Arke. Etnoæstetik. 1995 Pia Arkes bog Etnoæstetik blev udgivet første gang af Kunsttidsskriftet ARK i 1995. I essayet, der oprindelig blev skrevet som Arkes afslutningsopgave ved Afdelingen for Teori og Formidling på Det Kgl. Danske Kunstakademi, reflekterede hun som en af de første i dansk sammenhæng over kunstens mulighedsrum i feltet mellem forskellige kulturer. Nu foreligger teksten i en tresproget udgave og bliver således tilgængelig for et internationalt publikum. Etnoæstetik er også i dag en tekst, der anfægter enhver forestilling om at kunne skelne mellem “dem” og “os” ved at tale ud fra en position, der hverken anerkender det ene eller det andet, men i stedet rejser et nyt, “blandet” subjekt, der er både-og, eller, med Arkes egne ord, en “bastard.” Hun sagde ordet med et glimt i øjet, uden bitterhed, vel vidende hvilke billeder det fremkaldte i tilhøreren. For den politiske kritik i Arkes værk er altid nøgtern. Den postkolonialistiske diskussion handler ikke om skyld, som hun skriver et sted i Etnoæstetik, men om at forholde sig konkret til virkeligheden i den sen-kolonialistiske kultur, herunder spørgsmålet om, hvordan man kan blive et menneske (og en kunstner), når man 36 hverken er os eller dem, mig eller dig. Dette spørgsmål var for Arke et “æstetisk” (dvs. formmæssigt) anliggende, og måske ligger der i hendes valg af begrebet “etnoæstetik” i stedet for “postkolonialisme” også en eksistentiel erkendelse af, at denne udfordring er grundlæggende og permanent. Det er en udfordring, som alle mennesker står over for; en udfordring, som altså ikke bare kommer “efter kolonialismen”, men i en vis forstand før den. Det handler ikke om bagudrettet skyld, men om fremadrettet ansvar. Arke havde, tidligere end de fleste, forstået at “kolonialisme” (den enes beherskelse og udbytning af den anden) både i det store og i det små følger af de æstetiske distinktioner, der sættes mellem “dem” og “os”. Og svaret var at opgive eller i hvert fald bestandigt at udfordre distinktionen. Det etnoæstetiske spil er et grundvilkår, men “det fremmede der er på spil, er os selv, siger vi. Og det sidste kan, om ikke andet, forklare hvorfor vi så energisk kaster os ind i spillet”, som Arke selv formulerede det i teksten. Lars Kiel Bertelsen Pia Arke. Etnoæstetik. Pia Arkep atuakkiaa Etnoæstetik siullermik 1995-mi saqqummerpoq atuagassiami Kunsttidsskriftet ARK. Allaaserisaq tassaasoq Det Kgl. Danske Kunstakademimi Afdeling for Teori og Formidlingimi soraarummeerutigisimasaa, tassani Arkep siulliit ilagalugit qallunaanut atatillugu kulturit assigiinngitsut akornanni eqqumiitsuliornerup periarfissai isumaliutersuutigisimavai. Allaaserisaq maanna oqaatsinut pingasunut saqqummiunneqarsimalerpoq, taamaalilluni nunani tamani soqutiginnittunit atuarneqarsinnaalerluni. Allaaserisaq Etnoæstetik ullutsinni suli oqariartuuteqarpoq “uku” “uagut” immikkoortinnissaanik takorluuisarnerup qularnassusaanik, manna aallaavigimmagu isiginnittaatsit arlaannaalluunniit akuerisariaqanngitsoq, apeqqulli allamut nuuttariaqarluni, “akuugaaneq”mut, tassaalluni aappaatigutaammalu, iml, Arkep nammineq oqarneratut, “akusaq”. Tamannalu quiasaarpasilluni oqaatigaalu, ilumikkersimarpasigani, tusarnaartup qanoq takorluugaqalersinnaanera ilisimalluarlugu. Arkep suliamini naalakkersuinikkut isornartorsiuinini tamatigut silatusaartumik ingerlattarpaa. Etnoæstetik ilaanni allassimavaa, nunasiaqarsimanerup kingorna oqallittarneq pisuutitsiniaanermik imaqanngitsoq, kisialli nunasiaqarsimanerup kingunerisaanik inooriaatsit pilersimasut piviusumik aallunneqartarnissai, tassungalu atatillugu qanoq inuttut ilivitsunngorsinnaaneq
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 18 and 19: TUPILAKOSAURUS gunngisaannassaaq. S
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 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
Page 72 and 73: 31 x 25,5 cm, 26,3 x 32,5 cm og 31
Page 74 and 75: Untitled. C. 1992 4 x b/w photograp
Page 76 and 77: og Kulturvidenskabimi immikkoortort
Page 78 and 79: historier. Udsmykning for Danmarks
Page 80 and 81: Kayak - Contemporary Art from Green
Page 82 and 83: 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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