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ITTOQQORTOORMIINIIT OQALUTTUAT sisamat nassaarisimagamigit, taagukkaminik “Illoqarfik Scoresbysundimik pilersitsisoq” taassuma nunasiaatip iluani Ittoqqortoormiut inoqalersimmagu inunnik Ammassalimmiit (ullumikkut Tasiilaq) inoqalersillugu. Taakkua piffissamik ersinngitsumik tappissilersiinnarnani aamma aqqutissiuummani oqaluttuarisaanermik amigaat piviusuusoq nassaarineranut. Danskit illoqarfissuata avatinnguani Arkep nassaariortorpai assit nunasiaatilinneersut aammalu Danmarkimiit sulisut tikisitat assilisarisimasaat inunnik kalaallinik kinaassusiligaanngitsunik ulikkaartut. Kinaassutsimik suminngaanneerneranilluunniit paasissutissartaqanngimmata “assit tunngaviusumik naleqanngikkaluarput” Arkep oqaatigaa. Taamaalilluni kinaassusersorlugit aallartippai. Siullermik assit 1924-32-imeersut soqutigineruai, tassa nunasiaalernerup ukiui siulliit – Illoqqortoormiormiut namminneq suli assiliisalinngikkallarmata. Kusanartulianik inuunermullu tunngasut kisiisa pillugit misissuisimanngilaq. Sumut kalaallit pisimanersut naak neriorsorneqarsimagaluartut pissutsinik nutaanik pitsaalluinnartunik (piniarfigissaartunik), Ammassalik/Tasiilaq qimakkunikku niuertoqarfik nutaaq nunagilerunikku, aammattaaq pissutsit qanoq ittut atuutilissanersut nuutsitat tikisitat kalaallit qallunaallu akornanni. Taamatut ingerlatsineq ileqqorissaarnermut soqutiginninneruvoq biopolitikkimut geopolitikkumullu naapitsineq. 1933-imi Haag-imi eqqartuussivissuup aalajangerpaa Danmarkip Norgellu Scoresbysundimut tunngatillugu aaqqiagiinngissutaat. Aalajangiinerup Danmarkip naalaagaassusersuani takutissinnaanngorpaa aammami erfalasortik kapputereersimagamikku. Tassani oqaatigineqarsinnaavoq pissutsit pitsaalluinnartut atuutilermata – ilisimatusarneq, sakkutooqarneq kusanartuliornerlu eqqarsaatigalugit. Nunasiaqarnerup nukinnik ingerlatsinermini nunasiaammiit illoqarfinngortitsinermini Illoqqortoormiut oqaluttuarisaanera danskit qaliaannut naqqullu ataanut nutsertippai, taakkunani assiisiviit pisarmata puigugaallutillu. Taamaattumik isumaqarluarpoq Arkep oqaluttuarisaaneq ingerlaartoq aamma uninngasoq misissuiffigimmagu. Ittoqqortoormiiniit Oqaluttuat aqqutigalugu periarfissaqalerpoq imminnut qanillisarnissaat. Atuakkap tamatta sutigulluunniit peqataatippaatigut nunasiaanerup siornagut pissutsinut. Iluani pilersitsivoq nunasiaanerup siornagut piffimmik, tassani akerleriit piujunnaarnerat imaluunniit piunerat atorunnaarsinneqarfigaat; akerleriit immikkoortinneqarsinnaajunnaarnerat, kisiannili tassaniittuartut. Soorlu Carsten Juhlip erseqqissaaneratut: “Killiunerusut imminnut paasinninnerat imminnut atugartuussusertik nalliuttorsiuutigalugu ukiuni sorsuffiunngitsuni nunarsuullu sinnera puiguinnarlugu, taava nunasiaataaneq sioqqullugu piffissap pissusaa piffissamut naapertuuppoq.” THEME SECTION 5: STORIES FROM SCORESBYSUND Taking its departure in Pia Arke’s major work, the book Stories from Scoresbysund, this section considers the strength of her method: What is it that Arke’s artistic research succeeds in saying something decisive about? The section is literary filled with main works: Dummy (1995-2003) – the comprehensive picture and text work which, as its title indicates, is a direct precursor for Stories from Scoresbysund and a work of art in its own right – the photographic series Telegraphy (1996) and “the coffee recycling work” Soil for Scoresbysund (1998). About the latter work Arke writes in a letter to the co-author of Stories from Scoresbysund, Stefan Jonsson: “One may say that the work is anecdotal because it is linked to my stay in Scoresbysund, where my sister-in-law noticed me throwing out the used coffee grounds.” The coffee had to be thrown out, but through the window – to compost on the town’s otherwise barren stony ground. “I thought that was interesting in various ways. Scoresbysund was founded because of a misunderstanding there where it is situated today. And with the whole idea of Denmark’s rights to Greenland’s underground, etc. the work has quite a lot of depth historically. But it can also be viewed without knowing these things.” With 151 old coffee filters wound about with string and laid out in a square Arke practises the art of the impossible: she gets hold of a potentiality, a space of possibility without a predetermined goal. A space where linear history cannot be written, but where temporary histories are negotiated and created; histories that depart from the logic of conventional time to embrace subjective experience. She articulates the silence that surrounds the bond between Greenland and Denmark. This is clearly seen in a work like Telegraphy, which deals with how the meeting of opposites and the communication across distances and abysses change forever those who meet and what is communicated. And she articulates the passing by in silence of the fact that the bond between past and future – the progress of history and what underpins the now – ties itself into knots when it has to find room for individualised subjective time. Arke remains cool and does not try to cut the knot with a heroic stroke of the sword, even though the sword that was called postcolonial studies was on offer from abroad. Instead she slogged away in one work after the other to loosen that knot and, if possible, arrange it a little more humanely. Stories from Scoresbysund is in many ways her crowning work. The work was occasioned by the finding in 1995 of four photo albums in the home of the son of Ejnar Mikkelsen, whom she laconically called “the inventor of Scoresbysund town”, as it was he who was in charge of the colonisation of Ittoqqortoormiit with inhabitants from Angmagssalik (today Tasiilaq). The photos put her on the track not only of the lost time but also of a de facto historical lacuna. In and around the Danish capital Arke unearthed thousands of archival and amateur photos taken by colonists and migrant workers from Denmark and populated by unidentified Greenlandic subjects. As they were not provided with information about persons or places, “the photographs were in principle without value”, she writes. So she set about identifying them. Initially she was interested in the period around 1924-32, i.e. from the colonisation and the first, formative years – a long time before the Greenlanders in Ittoqqortoormiit began to take photos themselves. It was not just aesthetic and social interests that made her investigate what happened to the Greenlanders who been promised a life of plenty (good hunting) if they would leave Angmagssalik/Tasiilaq and settle in the Danish colony, and how the meeting between those who had been removed and those who had come from abroad, Greenlanders and Europeans, worked out. There was also an ethical interest in the meeting between biopolitics and geopolitics that impelled the work. In 1933 the International Court of Justice at The Hague decided a dispute between Denmark and Norway about the area around Scoresbysund. The decision meant that Denmark, which had not only planted its flag but also its colonised subjects at the spot, could make the final moves in a game that gave the nation sovereignty over all Greenland. Now one could speak of times of plenty – scientifically, militarily and aesthetically. In parallel with colonialism’s transport of resources from colony to metropole Ittoqqortoormiit’s history was to a large extent moved to Danish attics and basements, rooms where old albums end up and are forgotten. It therefore makes good sense that Arke investigated both the mobile and the place-bound history. With Stories from Scoresbysund there is now a way of bringing them closer to one another. The book is a determined engagement with the postcolonial condition that we all find ourselves in one way or another. In it an actual postcolonial space is created in which the either-or of these classical oppositions are rendered inoperative; where oppositions can no longer be viewed individually but are always simultaneously present. As Carsten Juhl points out: “While the Western self-understanding can only [celebrate] itself as civilisation in peacetime and must suppress the world at all other times, the postcolonial situation is in accord with time.” 39
Pia Arke. Dummy. 1995-2003 Titlen på Pia Arkes værk Dummy skal læses bogstaveligt. Værket består af en “dummy” – det vil sige en sideskitse, som angiver sidernes rækkefølge samt billede- og tekstplacering på hvert sideopslag. De indrammede og vægophængte sideskitser giver et øjebliksbillede af, hvordan Arke gik til værks, da hun samlede sine indsamlede fortællinger, billeder og dokumenter fra Scoresbysund/Ittoqqortoormiit til bogen Scoresbysundhistorier. Fotografier, kolonisering og kortlægning (Borgens Forlag, 2003). Den dummy, vi ser ophængt, er for sin del bare den næstsidste i en række lignende dummies, som Arke anvendte som arbejdsfundament, da hun planlagde sin bog og diskuterede den med sin medarbejder Stefan Jonsson og sin forlægger Poul Henrik Westh. Dummy viser, at Arke betragtede Scoresbysundhistorier som et kunstværk såvel som et bogprojekt – skønt måske allerhelst som et nyt æstetisk objekt uden navn. En forfatter ville næppe udstille manuskriptet til sin færdige bog. Blandt kunstnere derimod er det almindeligt, at skitsen værdsættes som et værk i sin egen ret. Og som flere andre værker af Arke viser Dummy tillige, at hun tilhører de kunstnere, som betoner den kunstneriske proces snarere end resultatet. Arke havde knapt nok færdiggjort manuskriptet til Scoresbysundhistorier og afleveret det til tryk, før hun vendte tilbage til dummy’en, tog siderne fra hinanden og begyndte at overveje, om ikke dokumenterne kunne ordnes i nye kombinationer. Netop derigennem bliver Dummy også et spejl af hele Arkes indstilling til sit fødested Scoresbysund. Da hun efter 35 år vendte tilbage til byen i 1997, oplevede hun, at menne- 40 skerne dér manglede en historie. Stedets fortid havde ikke nogen given plads i indbyggernes kollektive hukommelse. Desuden manglede samfundet historiske dokumenter, som gengav årene, der var gået. Arke satte sig for at rode bod på dette historiske underskud. Hun indsamlede dokumenter om Scoresbysund, som var spredt over det halve Europa. Hun dokumenterede også historierne, som indbyggerne selv havde gemt i deres hukommelse og fotoalbums. På den måde ville hun genoprette Ittoqqortoormiits historie nedefra ved at fremlægge det mylder af minder og erindringer, som er blevet udeladt i den officielle danske kolonihistorie. Til forskel fra den officielle historieskrivning havde den mangfoldighed af fortællinger, fotografier og erindringer, som Arke indsamlede, ikke nogen bestemt linje. De kunne ikke sættes sammen til en sammenhængende fortælling, men kun som en mosaik af historier, som løber ind i og ud af hinanden som et garnnøgle. At Arke lagde så stor vægt på dummy’en og ophøjede den til et kunstværk i sin egen ret, viser at hun opfattede den ufærdige formgivning som den eneste form, der præsenterede sandheden om Ittoqqortoormiits ufærdige og uafsluttede historie. Dermed udpeger Dummy tre grundidéer i Arkes historiesyn. For det første er historien om Scoresbysund ikke én, men mange. For det andet handler denne historie bogstaveligt talt om en kolonial konstruktion; en plads som udtænktes og fabrikeredes på et skrivebord i København. For det tredje er denne historie uafsluttet. I lighed med dummy’en har den ikke få sin endegyldige form – og det får den nok aldrig. Stefan Jonsson Pia Arke. Dummy. Pia Arkep suliaata qulequtaa Dummy taamatorpiaq paasineqassaaq. Suliaq tassaavoq “dummy” – tassalu suliareqqitassaq quppernilersugaq, quppernerit tulleriiaarneqarnissaannik oqaluttuartoq ilanngullugit quppernerni sorlerni assilissat allagartaallu qanoq tulleriiaarneqassanersut. Suliareqqitassat quppernilersukkat sinilerlugit nivinngarneqarsimasut ingerlaannaq oqaluttuarput Arke qanoq suleriaaseqarsimasoq Ittoqqortoormiit pillugit atuakkiassani Ittoqqortoormiiniit Oqaluttuat. Assit, inulerneqarnerat nunap assiliornerlu (Borgens Forlag, 2003) allassallugu oqaluttuat, assilissat uppernarsaatissallu katersoramigit. Dummy taanna nivinngarneqarsimasoq tassaaginnarpoq piviunngitsut tassunga assingusut arlallit, Arkep sulinermini najoqqutassamisut atugaasa, kingullersaata tullia, taamani atuakkiassani piareersarlugu suleqatiminik Stefan Jonssonimik saqqummersitsisussaminilu Poul Henrik Westhimik oqaloqateqartarnermini. Dummy-p takutippaa Arkep Ittoqqortoormiiniit Oqaluttuat atuakkiatut isigiitigalugit aamma eqqumiitsuliatut isigigai – naak immaqa kusanartuliatut saqqummiussassatut ateqanngitsutut isigerusunnerugaluarlugit. Atuakkiortup atuakkiami tamarmiusup allannera takutikkusuppallaartarunanngilaa. Kisianni eqqumiitsuliortut akornanni nalinginnaavoq suliarigallakkat suliatut namminneq nalilittut pingaartinneqartarnerat. Arkep suliarisartagaatut arlalittulli Dummy-p aamma ersersippaa arnaq taanna eqqumiitsuliortunut eqqumiitsuliap suliarineranik ersersitserusuttunut ilaasoq, inernera pinerunagu. Arkep Ittoqqortoormiiniit Oqaluttuat allannerat naammassiinnavillugu naqiterisussamullu tunniutereerlugu ingerlaannangajak dummymut uteqqippoq, quppernerit piiarlugit eqqarsaatigilerlugulu uppernarsaatit nutaamik allatut katiterneqarsinnaannginnersut. Tassuunarpiarlumi Dummy tarrarsuutinngorportaaq Arkep inunngorfimminut Ittoqqortoormiinut isiginninneranut tamarmut. Ukiummi 35-t qaangiute-
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Page 6 and 7: At skubbe til historien: En introdu
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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
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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
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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
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Page 56 and 57: taaneqartartoq Perlustrationer 1-10
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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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