tupilakosaurus - Print matters!

More documents

Recommendations

Info

LegeNde lugu, ajornanngippallu allanik oqaluttuanik paasinneriaatsinillu ilassuteqartittarlugit. Nammineq ima oqaatigaa: “Oqaluttuarpassuit ilaatinniartarpakka asseq imaannaanngitsoq kusanartorlu ersersinniarlugu.” Immikkoortortaq suliarpaalunnik oqaluttuassartalinnik imaqarpoq. Ilagivaat assilisat qalipaateqanngitsut meeraanermi arlaatigut attuumassutillit toqqaannarlugit allaffigisarsimasai – ilaatigut assip sinaa toqqaannarlugu allaffigisarsimallugu. Isumalersuineq Arkep immikkut soqutigilluinnarsimavaa. “Uagut inuiaqatigiit arlalippassuartigut assigiinngequteqartut”, taamak allassimavoq atuakkami Etnoæstetik-mi (1995), “soqutigaarput katersugaasiveqarnerup iluani saqqummersitatut ilanngutissasut. Soqutigaarput Europamut attaveqarnerput qulaajassallugu soorlu eqqumiitsuliortup eqqumiitsuliorneq sammerusuttaraa annilaangaginagu pioreersut mingutsissallugit – akerlianilli.” Assit sinaani nipit ersarissut piffinnik, piffinnillu tikitanik silallu pissusaanik telegrammitut unikkaartutut akornanni amerikarmiut nipaat tusarsaavoq. Arke pisariaqanngitsut ilanngunneq ajorpai. Nipit immineq ersarissuupput. Maluginiagassaavorlu tammaarsimaarnerpalaaq aammalu sakkutuut sungiusartarfii amerikarmiut peqatigalugit saqqummertoq. Spejdererpalaarneq sakkutuujussusermut ilassuulluni. Ulluinnarnilu sulineq, malittarisaqarlunilu iliuusissat issakatsiaarfitoqarlu timmisartoq qaartartunik imalik B-52 eqqissisimaffiup nalaani naapipput. Sorsunneqarfiunngitsup nalaani takorluukkat paatsoornarsinnaasut angissutsit saqqummertarput: Danmarkimineerannguaq nunarsuarmi, Danmarkersuaq piginnaanilissuartut, Kalaallit Nunaarannguat nalagaaffissuit akornanni, Kalaallit Nunarujussuat nassaartuiffissaq aqutassarlu … Danmarkip mittarfeqarnermut sakkussanullu atomitalinnut inatsisaa inerteqqut Kalaallit Nunaanut atuussimanngilaq. Tamannalu oqaluuserineqarpianngilaq. Ulloq mannattaaq tikillugu Danmarkip NATO-mi inissisimanera eqqartorneqanngilaq qanorlu nuna faktor 30-imik sunnerneqapilussimanera. Arkep aamma tamakkua eqqartunngilai. Akerlianik nipaanneq oqaluttippaa. THEME SECTION 6: LEGEND This section looks more closely at the play of irony in Pia Arke’s bricolages – once again with a point of departure in a specific work, namely the series Legend I-V (1999). The five fragilely monumental pictures appropiate maps of North East Greenland that were at hand. The maps are in themselves wonderfully colourful, but they have been treated with graphic powder, which makes them dark in some places, almost gloomy. In the middle of these rough landscapes (in the middle of the maps of them) shine a handful of warm yellow-toned female portraits. They come from Ittoqqortoormiit and the time just after World War II. Thus, Legend III is adorned by a youthful portrait of Arke’s mother. At first sight she and the other women seem to have tattoos on their faces. Perhaps a little like the five women in the famous Qilakitsoq mummy find, which can today be seen at the Greenland National Museum & Archives – or like the woman in Mathias Blumenthal’s painting from 1753 of The Greenlandic Woman Maria, hanging in the Ethnographic Collection at the National Museum of Denmark in Copenhagen. But on closer inspection we see that the artist has attached a piece of transparent paper strewn with place names that refer to the resourceful Europeans and Americans who took the first places in the race to give the world names: WULLF LAND (after a Swedish botanist), KANE BASSIN (after an American doctor), HUMBOLDT GLACIER (after the German natural scientist and founder of modern geography) and so on. “Greenland as construction” Arke might have titled her work, and this section would then have been given the same unambiguous title. But of course she didn’t. For Arke was great at titles. She mastered the balancing act between not giving too much and not giving too little when naming her works, not to close their interpretation, but to keep it open, so one’s brain goes into a spin when one tries to get a grip on what is going on. Arke plays with words, meanings and preconceived interpretations. Legend (in Danish: playfully). She points to the myth – about Greenland, types of peoples, folklore and all the tupilak’s curses – before Christianity reached the country. Legend. Christianity arrived, and with it the religiously edifying accounts of the exemplary lives of the saints, male and female. Legends of saints. One could go on. But the most obvious reading (Medieval Latin: “legenda” = things that are to be read) must be the legend as explanation of the signs used on a map, that is the list of the symbols’ meanings that the mapmaker provides on any decent map or chart. Arke has given her maps her own explanation taken from the local store: coffee, sugar, rice and the more domestic products flour and oats. She pursues juxtapositions that activate an ironic play of meanings, and which therefore examine the meanings to see if there might be openings or fissures, into which one could insert other narratives and interpretations: “Instead of cleansing the picture so it could become that magnificent aesthetic picture I put a lot of history on top,” as she phrased it. The section also contains a considerable number of the numerous works onto which she quite literally heaps a mass of history. Either by writing directly on the black-and-white photographs of the places where she spent her Greenlandic childhood. Or by scribbling directly on the frame. The frame as a bearer of meaning is of special interest for Arke. “We, the ethnic in various shades,” she writes in her book Ethno-Aesthetics (1995), “have an interest in bringing the museological framework into the exhibition. We have an interest in unveiling the connections leading back to Europe, in the same way as the aesthete has an interest in occupying him- or herself with art. Here you will find no fear that authentic values will be polluted, in fact, quite the contrary.” Among the voices heard on the frames – and which describe places, arrivals, weather conditions and more in an excited telegram style – we now find American voices. Arke doesn’t go into detail. She leaves that to the voices. But a general atmosphere of camps, a sense of base camps and – very faintly – boot camps makes itself felt with the presence of the Americans. The boy-scoutish shifts towards the military. Everyday activities go hand in hand with strategic tasks and the old seat board of a swing meets B-52 bombers in peacetime. The peacetime angle is part of the ironic play with ideas that have to do with size. Little Denmark in the big world, big Denmark with the right competences, tiny little Greenland among the big nations of the world, colossal Greenland to be discovered and administered and so on. Apparently Denmark’s ban on bases and nuclear weapons in peacetime did not apply to Greenland. But that wasn’t talked about so much. Nor do we talk so much today about what it means for Denmark’s role in NATO to boost its territory by a factor of 30. Arke doesn’t speak about it either. Instead she speaks about the silence. 47
Pia Arke. Legende I-V. 1999 Titlen på denne serie arbejder, Legende (på latinsk “legenda” = noget der skal læses, på engelsk “legend” = myte, sagn, inskription, tegnforklaring), minder os om, at et kort altid er noget mere og noget andet end et enkelt og umiddelbart og givet billede af et territorium. Snarere end at spejle eller efterligne eller reproducere påbyder og definerer kortet det territorium, som det afbilder. Måske kunne man endda sige, at kortet skaber territoriet. Inden kortets intervention fandtes der ingen grænser, intet uden for og inden for, intet mit og intet dit territorium. Efter kortets intervention er territoriets konturer blevet udmejslede, pladser har fået nye identiteter, landskaber er blevet farvelagte, og livsrum er blevet indhegnede. I de fem collager af kort, fotografier og andet, som udgør serien Legende kontrasterer Pia Arke det koloniale kort – kortet som det blev tegnet af kolonisatorens kartografer – med nærværet af individer. Her, på territoriet, findes, lever individer. Et menneske, set gennem et fotografisk portræt, placeret i kortets midte, synliggør kortets ambitioner: At indkredse og omgærde menneskelig hverdag, at farve og præcisere menneskets mål. Men Legende re-artikulerer kortets magt på flere måder. Udvekslingen mellem 48 menneske og territorium, mellem livsverden og koloni, karakteriseredes ikke bare af en abstrakt kartografi, men henter også sin kraft fra en materiel økonomi. Derfor er Legendes kort ikke bare geometrier af blæk på papir, men et temperaments- og blodfyldt raster af kaffe, salt, sukker, ris m.m.; den udveksling af varer og ting, som udgør og udgjorde koloniens hverdag og, ikke mindst, dens geopolitiske og økonomiske eksistensberettigelse. Det er i Legende lykkedes Arke lydhørt og empatisk at overlejre kortes abstrakte geometri og empiri med den levede hverdags slid. Og med et håb. Som om territoriet stadig kunne defineres og omdefineres af de mennesker, som lever der. Det er netop på den måde, at Legende så præcist forener livserfaringer forankrede i den personlige biografi med geopolitik; hvordan de små pennestrøg – som forandrer et kort, et kortbillede, og som omtegner et territorium som fuldstændigt – på en og samme gang kan påvirke og omdefinere menneskers liv. Jan-Erik Lundström Pia Arke. Legende I-V. 1999 Suliani tulleriinni qulequtaata, Legende-p (latinerisut “legenda” = atuagassaq, tuluttut “legend” = oqaluttuatoqaq, itsarnitsanik oqaluasaarut, allannerit, titartakkamut nassuiaat), eqqaasippaatigut nunat assingi tassaaginnanngitsut nunatamut assigititat imaaliinnaq paasisariallit, annertunerujussuusulli. Nunatap pineqartup assinga taanna tarrarsortiinnarnagu,assiginiaannarnaguluunniit imaluunniit issuaqqinnagu inassuteqarpoq nassuiaallunilu. Immaqaluunniit aamma oqartoqarsinnaavoq nunap assingata nunataq pilersikkaa. Nunap assingata akuliunneqannginnerani killeqarfeqanngilaq, silataaniittoqarani iluaniittoqaraniluunniit, uanga illillu nunatatsinnik. Nunap assingata akuliunneratigut nunatap killingi ersersinneqarput, sumiiffiit nutaanik paasineqarsinnaalerput, pinngortitaq qalipaasersorneqarpoq, inuuffigisinnaasallu ungaluneqarlutik. Nunap assinginik, assinik allanillu katiterlugit assilialiat tallimat tulleriiaat Legende-nik taaneqartut Pia Arkep nunasiaatillit nunap assiliaat – nunap assingi nunasiaatillit nunap assiliortuisa titartagaat – illuatungilerpai inoqalersikkamigik. Nunatami uani inoqarpoq. Inuup assilineqarsimasup assingata nunap assingata qeqqanut inissinneqarneratigut nunap assingata anguniagai takusassiarineqarput: Inuit ulluinnarni inuunerat killilerneqarluni ungaluneqarlunilu, inuup anguniagaa qalipaaserneqarluni erseqqissarneqarlunilu. Kisianni Legende-p nunap assin-
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 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 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
Page 90 and 91: who have generously lent us works f
Page 92 and 93: Fonde & Sponsorer / Aningaasaateqar
Page 94 and 95: Udstillingslokaliteter & Entré / i

tupilakosaurus - Print matters!

Create successful ePaper yourself

Delete template?

Save as template?