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1995-2003 reersut illoqarfimmut 1997-imi uterami paasivaa tassani najugallit oqaluttuaqanngitsut. Najugaqarfiup oqaluttuassartaata innuttaasut ataatsimut eqqaamasassissimanngilai. Inooqatigiittaaq ukiut taakku ingerlanerini oqaluttuarisaanermut uppernarsaatissaqanngillat. Arke aalajangerpoq oqaluttuarisaanermik amigaateqarneq taanna qanoq iliuuseqarfiginiarlugu. Ittoqqortoormiit pillugit paasissutissat, Europap affaani siammarsimasut, katersorpai. Innuttaasalumi namminneq eqqaamasamikkut assiisivitsigullu toqqortigaat atorlugit oqaluttuat uppernarsaaserpai. Taamaaliornermigut Ittoqqortoormiit oqaluttuassartaat naqqaniit pilerseqqinniarpaa, eqqaamasarpassuit, danskit nunasiaateqarnerminnik pisortatigoortumik oqaluttuaanni, mininneqarsimasut. Pisortatigoortumik oqaluttuamit allaanerulluni oqaluttuat, assit eqqaamasallu assigiinngisitaaqisut, Arkep katersugai, aalajangersimasumik malitaqanngillat. Oqaluttuamut imminut ataqatigiissumut inissititerneqarsinnaanngillat, oqaluttuaallutilli assilissatut imminnut katitikkat, paarlagaattut, nuersagassatulli. Arkep Dummy-mik taama pingaartitsitiginerata eqqumiitsuliatullu nammineq nalilittut qaffatsitsinerata ersersippaa ilusiliineq naammassineqanngitsoq paasigamiuk tassatuaasoq Ittoqqortoormiit oqaluttuassartaata naammassineqanngitsup eqqortumik saqqummiunnissaatut. Taamaalilluni Dummy Arkep oqaluttuarisaanermut isiginnittaasiata tunngaviinik pingasunik tikkuussivoq: Siullermik Ittoqqortoormiit oqaluttuassartaat ataasiinnaanngitsoq, amerlaqisulli. Aappassaanik oqaluttuaq taanna nunasiaatillit namminnerpiaq ilusiliineraat; Sumiiffik Københavnimi allaffimmi eqqarsaatigineqarlunilu sananeqartoq. Pingajussaanik oqaluttuaq taanna suli naammassineqanngilaq. Dummy assigalugu isikkuissani suli tigunngilaa – taamaalinngisaannarunarlunilumi. Stefan Jonsson Pia Arke. Dummy. 1995-2003 The title of Pia Arke’s work Dummy should be read literally. The work consists of a “dummy” – that is a mock-up page that shows the sequence of the pages and the placing of pictures and text on each page spread. The framed mock-up pages hung on the wall give a momentary picture of how Arke set about her work when she assembled her collected stories, pictures and documents from Scoresbysund/ Ittoqqortoormiit for her book Stories from Scoresbysund. Photographs, Colonisation and Mapping (Borgen Publishers, 2003). The dummy we see on the wall is for its part just the next but last in a series of similar dummies that Arke used as basis for her work when she was planning her book and discussing it with her collaborator Stefan Jonsson and her publisher Poul Henrik Westh. Dummy shows that Arke regarded Stories from Scoresbysund as an artwork as well as a book project – although perhaps most preferably as a new aesthetic object without a name. A writer would scarcely exhibit the manuscript for her/his completed book. Among artists, on the other hand, it is common for studies and sketches to be valued as works in their own right. And, furthermore, like a number of other works by Arke, Dummy shows that she is one of those artists who give more emphasis to the process than to the result. Arke had barely completed the manuscript of Stories from Scoresbysund and delivered it to the printer when she returned to the dummy, separated the pages and began to consider whether it would not be possible to arrange the documents in new combinations. In this way Dummy also comes to reflect Arke’s entire attitude to her birthplace, Scoresbysund. When after 35 years of absence she returned to the town in 1997, she found that its inhabitants lacked a history. The settlement’s past had no given place in their collective memory. Furthermore the community lacked historical documents that could account for the years that had passed. Arke set herself the task of remedying this situation. She collected documents about Scoresbysund that had been spread across half of Europe. She also documented the stories that the inhabitants themselves had stored away in their memories and photo albums. In this way she wanted to re-establish Ittoqqortoormiit’s history from below by presenting the throng of memories and recollections that had been left out of official Danish colonial history writing. As opposed to the official version of history the multiplicity of stories, photographs and memories collected by Arke had no definite line. They could not be put together into a coherent narrative, but only as a mosaic of intertwined stories like a ball of yarn. That Arke attached so much importance to the dummy and elevated it to a work of art in its own right shows that she saw the unfinished form as the only kind that could present the truth about Ittoqqortoormiit’s uncompleted and unfinished history. In this way Dummy highlights three fundamental ideas in Arke’s view of history. First, Scoresbysund does not have one history, but many. Second, this history is quite literally about a colonial construction; a place that was conceived and fabricated at a desk in Copenhagen. Third, the history is unfinished. Like the dummy it has not acquired its final form – and probably never will. Stefan Jonsson 41
Pia Arke. Jord til Scoresbysund. 1998 “Det er tre menneskers kaffeforbrug gennem fire måneder. Da jeg var i Grønland, ville jeg smide kaffegrumset ud, men så fik jeg at vide, at det måtte jeg ikke, den skulle blive til kompost, de ville så gerne have noget mere jord. Efter tilstrækkelig lang tid bliver kaffe til jord. Kaffe er importeret, det er noget, man drikker alle steder i verden.” 42 Pia Arke (citeret fra Kunstavisen, nr. 5, 1998) Den oprindelige installation fra 1998 er blevet opløst, som det var tilfældet med mange af Arkes værker, men er under arbejdet med udstillingen blevet rekonstrueret af udstillingsteamet efter ovennævnte beskrivelse. Pia Arke. Ittoqqortoormiitsaanngutissaannut. 1998 “Inuit pingasut qaammatini sisamani kaffisugaat. Kalaallit Nunaanniitillunga kaffit tangikui iginnialerpakka, ilisimatinneqarpungali taamaaliussanngitsunga, nunannguunniassammata, saannguteqarnerorusukkaluaqigamimmi. Sivisuumik uninngareerlutik kaffit saanngutinngortarput. Kaffi, nunarsuarmi tamarmi imerneqartartoq, nunamut eqqutaavoq.” Pia Arke (atuagassiami Kunstavisen, nr. 5, 1998-imi issuarneqarpoq) 1998-imi ilusilernera tammarsimavoq, soorlu Arkep suliarpassuisa ilaat aamma tammarsimasut, kisianni saqqummersitsinissap suliarinerani saqqummersitsiniartuusut qulaani issuarneqartoq pissusiatut suliareqqippaat. Pia Arke. Soil for Scoresbysund. 1998 “It is three people’s consumption of coffee over four months. When I was in Greenland I was going to throw out the coffee grounds, but I was told that I shouldn’t do that, as they wanted it to become compost. They so much wanted to have some more soil. After a sufficient length of time coffee becomes earth. Coffee is imported; it is something people drink all over the world.” Pia Arke (quoted from Kunstavisen, no. 5, 1998) The original installation from 1998 was dissolved, as was the case for many of Arke’s works, but has been reconstructed by the exhibition team during the work on the exhibition in accordance with the above description.
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 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 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
Page 84 and 85: pimoorullugu akuliusimasuuvoq eqqum
Page 86 and 87: METTE JØRgENSEN is a teacher and w
Page 88 and 89: 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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