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NIAQQUP SAARNgI SAANI- KULLU QALLORLUgIT naatsukullammik allagartalerpaa: “Niaqqup saarngi saanikullu qallorlugit sanileriiarpakka – side by side – nuannarineqarpianngilaq quianarpasillunili.” Malitassiuinermik oqarneq soorunami ingasaassineruvoq, tassami nunasiaajunnaarneq nammineq pissutsini malillugu qulaaniit aalajangiiffigineqarsinnaanngilaq. Taassuma saniatigut sammivarput puigortuusineq puigortuusinermullu periaatsit, kalaallit danskillu inissisimaffiini kinguaariinni amerlaqisuni atuuttuarsimasut, imaaliallaannaq peerneqarsinnaanngitsut. Imaassinnaavalumi siunnersuutigineqarsinnaanngilluinnartoq malitassiap, allanit paasineqarsinnaanngitsutut ittup, malinneqarnissaa? Londonimi Goldsmits-imi nunasiaareersimanerup kingunerinik ilisimatusarfimmi ilinniartitsisup, lektor Francoise Vergès-ip, puigortuusinerit, nunasiaatip tarninganiittut, assigiinngitsunut marlunnut immikkoortippai: Qanganisarpalunnermut aalajangeerusunnermullu. Qanganisarpaluttumik puigortuusisitsinerup oqaluttuarisaaneq ingerlattarpaa pisimasut ilaasa ilumuunnginnerarnerisigut, tamannalu pissutigalugu ullumi uagutsinnut aliortukkatut takkuttuartittarlugit. Oqaatigineqarsinnaanngitsut, nunasiaateqalernerup ilumut pisimaneranik siornatigullu amiilaarnartut saqqummiunneqarnissaannik annilaanganeq pissutigalugu – illuatungaaniluunniit sapiitsuliornerunernik sorsuanngortitsinerit sinnerilu puigortuusillugit – ilumuunnginneraannarnagit atorniarneqarsinnaavoq aalajangiiniarnikkut puigortuusineq. Taamaaliornikkut siornatigut pisimasut paasineqarsinnaapput suut annernarsinnaasut takusinnaanngorlugit, eqqunngitsuliornerit naleqqutinngitsullu, eqqaaneqanngikkunik tammarumanngitsut, nassuerutiginerisigut. Tassanerpiarlu Arke akuliuppoq periarfissarlu alla ilusilerlugu. “Soorlu oqaluttuarisaanerup ilaasa immikkut uppernarsaatissaqarluanngitsulluunniit aggornerisigut, qujanartumilli ilisarititsinertigut ataaniittut erseqqissusiat saqqummiunneqartarpoq”, Carsten Juhl issuaraanni. Tamanna allanit erseqqinnerujussuarmik takutinneqarpoq assilissani imminnut atasuni Nature Morte-mi (ilaatigut taaneqartartuni Perlustrationer 1-10) 1994-imeersumi. Illersornissamut ilisimatusarfiup ilisimatusarnermut atuagaateqarfiani – ilaatigut ajoqersuiartortitaasimasut, ilisimatuut nunasisullu Kalaallit Nunaat pillugu atuakkiaasa naqeqqaarneri amernik ungalullit – atuakkat sanileriiaarlugit inissinneqarsimasut akunnerinut “tassaniissangatinngisat” Arkep ikkussuuppai. Akunnerisaannik allanik tamanik tikkuussinermigut (oqaluttuarujussuarmi, isummani tungaviusuni napatitsiniartussani, akunnequtini eqqaamasanik avataaniititsiniarnerni, il.il.) Arkep ini kusanassusilik pilersippaa, taamaalilluni kingunerlutsitsinerit paasineqarsinnaanngitsut qaqinneqarsinnaalersillugit, uagullu aallartissinnaalerlugu anamnese, uagut nammineq nunasiaateqarnitta oqaluttuassartaanik nassuiaat. THEME SECTION 7: FISHING OUT SKULLS AND BONES Pia Arke’s works persistently concerned themselves with “Greenland as colonial history, mapmaking, time, recollection, space, silence, identity and myth”, as she herself formulated it. Put a little simply, however, her investigations say just as much about Denmark and the Danish mentality. Denmark’s 250-year presence in Greenland as a colonial power has left deep marks on both countries. There will always be a bond between the two places and their peoples and cultures, also despite the fact that the bond may for various reasons be difficult to understand in all its facets. And this is the case even though certain facets are so traumatising or perhaps overlaid with so much sense of guilt that they are repressed, projected onto someone or something else or transposed into a more bearable picture. This section examines the nature of the traumas that colonialism has left in us, how the repressed past works in – and haunts – us from its subconscious depths, and finally what role art can play when past events are to be recalled, traumas given expression and wounds healed. Our analysis takes its departure in a number of Arke’s works and their interplay with the ethnographic museological frameworks and objects side by side with which we have installed them (sometimes harmoniously, sometimes stridently out of tune). As a rule the colonial condition is regarded as over when the colonial power leaves the colony and yields economic and political control over the country to its original inhabitants – whether this takes place by way of negotiations or revolt. But postcolonial experience, as it has especially been expressed in the literature and theory that arose in the wake of the great wave of decolonisation after World War II, shows that there is no such thing as a clean historical break between colony and metropole. And the personal and national-romantic hopes that it will be possible to “pop” back to a precolonial identity when the colonial oppressor disappears have also been disappointed. The slate has not been wiped clean of the alienation and shame that come along with the fact of having been colonised. One might be tempted to say that the colonial power has not disappeared at all. Or that it has disappeared physically, while (all or at any rate) parts of its essence, its habits and values live on in the colony as an internalised component in the mentality of the colonised people, and in the social structures and political and administrative organs that bind them together as a culture and nation. Arke does not in any way condemn this state of affairs. But her own recipe for a genuine mental decolonisation is not exactly designed for sensitive souls. Thus, she provides a diptych consisting of two contrasting Greenlandic motifs (a frozen fjord landscape and an indeterminate space of an industrial character) placed opposite each other with this trenchant verse: “Fishing out skulls and bones I place them in a row – side by side – It is not popular but it looks entertaining” The recipe is of course a bit of hype, for decolonisation cannot in the nature of things be dictated from above. Furthermore, we are speaking of repressions and their mechanisms that have been at work for so many generations in both the Greenlandic and the Danish camps that they do not give up the ghost so easily. And is it at all advisable to follow the recipe for something that seems indigestible for others? Lecturer in postcolonial studies at Goldsmiths College in London, Françoise Vergès, distinguishes between two forms of repression operating in the colonised psyche: the conservative and the constitutive. The conservative repression controls history in a way that persistently denies certain parts of the past, which for that reason continue to haunt one in the present like ghosts from the grave. Instead of denying the unspeakable fact that colonisation took place out of pure fear of reviving the horrors of the past – or, conversely, instead of exaggerating its more heroic aspects and repressing the rest – one can have recourse to constitutive repression. This functions in such a way that one can take in the past sufficiently to be able to look the pain it caused in the eye, to acknowledge that there have been unjust and inappropriate elements that will not disappear unless they are remembered. And it is here Arke comes in and draws the contours of an alternative. “For example, by cutting the historical into parts without any special source status, but which thanks to the biographical cut succeed in revealing an underlying clarity”, to quote historian Carsten Juhl. Nowhere does this come more clearly to expression than in the picture series Nature Morte (sometimes also referred to as Perlustrations 1-10) from 1994. In a research library under the Ministry of Defence – among leather-bound first editions of works on Greenland by the early missionaries, scientists and colonisers – Arke inserts “foreign bodies” into the cracks between the books as they stand there lined up on the shelves. By pointing at all the other cracks (in the great narrative, in the ideologies that are supposed to support it, in the shutters that are meant to keep out the memories, etc.) she creates an aesthetic space, where undigested traumas can come up to the surface, and we can begin an anamnesis, an account of our own colonial histories. 53
Pia Arke. Uden titel. 1990 Hovedidéen går øjensynligt ud på at indrette de fotografiske redskaber til menneskelige dimensioner, at hive mekanikken og elektronikken ud af kameraet og i stedet putte sig selv derind, og, videre, gennem såvel negativstørrelse som eksponeringstider (15 min. og opefter) at søge at få fotografiens grundlæggende én-til-én karakter til også at omfatte fotografen. Positivbilledet, som det store negativ kaster tilbage i kameraets mørke, og den lange eksponeringstid giver mulighed for at styre lysindfaldet på de forskellige områder af billedet. Fotografen kan i den mest konkrete forstand sætte sit eget finger- eller håndaftryk på billedet. For mig at se, og måske på trods af disse aftryk og manipulationer, er det i udpræget grad forestillingen om en ren fotograferen, en direkte og umiddelbar kontakt med mediet, der spøger i dette kameras idé, og som går igen i papiraftrykkene. Pia Arkes videst distribuerede billede, et vue indover en sydgrønlandsk fjord med dens ejendommelige fjeldformationer, er et motiv, som jeg selv så at sige er vokset op med på nethinden. Det er mere end 20 år siden, jeg sidst så denne udsigt fra vores fælles barndomshjem, og når jeg sammenligner de to billeder, mit eget falmede nethindebillede og min søsters fotografi fra 1990, slår det mig, at det første er langt skarpere, og desuden fyldt med kodakoloristiske nuancer og overgange, som er uden ækvivalenter i det sidste. Men hendes fotografi får mig også til at indse, hvad der siden er blevet af dette sted: nedlagt, berøvet sine dimensioner, hjemsøgt og overtrukket med film. Det forunderlige og skønne ved disse billeder udspringer, tror jeg, af deres karakter af netop af- eller indtryk, en karakter som får lov at træde frem gennem sløretheden uden at fortrænges af en alt for høj grad af skarp lighed, og i øvrigt uden at billederne fremstår som indicier for andre sandheder end deres egne. Fotografien har, kan man sige, fra begyndelsen været splittet 54 mellem dét, der befinder sig foran kameraet, og dét, der befinder sig bag det. Når man derfor, som Arke, søger tilbage til det oprindelige, er det ensbetydende med at søge tilbage til en oprindelig splittelse. Det obskure kamera og dets Arketypiske frembringelser er et forsøg på at bearbejde og overkomme et grundlæggende uvæsen; et forsøg, der naturligvis igen forestiller noget andet: bearbejdelsen af en bastardiseret, halvt eskimoisk halvt europæisk, oprindelse. Det Arketypiske motiv er altså Grønland, ikke umiddelbart og direkte, men netop som motiv eller billede – som kolonihistorie, myte, bytte, trofæ, studie- eller udstillingsgenstand. Det Arketypiske består ikke mindst i en drøm om at eftergøre den koloniale tilegnelses kunststykker ved at rette søgeren mod den objektivering og afbildning, gennemkrydsning og omfattende sampling, som de består i. Den drømmeagtige karakter af de billeder, som langsomt toner frem, indikerer, at der er tale om en uafsluttet og måske uafsluttelig proces, og at det Arketypiske indgår i et større billede og er omfattet af det apparatur, som det selv betjener sig af. I alle tilfælde vil det være et sandt kunststykke at afklare og skabe sammenhæng mellem de mange tilsyneladende så uforligelige – æstetiske, personlige og politiske – sider af Arketypien. Det er alt sammen meget processuelt. Det gælder forresten også den side af Arketypien, som er sværest at analysere, men som har at gøre med disse billeders evne til at kommunikere, at tale til folk eller noget i dem. Det har helt klart også noget at gøre med Arkes evner i samme retning, for meningen med hendes billeder har vistnok aldrig været, at de skulle tale for sig selv. Tværtimod skal de fungere netop som medie for alskens intentioner, budskaber og engagementer i forholdet mellem hende selv og andre. Erik Gant (uddrag fra artiklen “Det Arketypiske/Pia Arke”, KATALOG, forår 1996) Pia Arke. Qulequtaqann- Isumassarsiap pingaarnersarigunarpaa assiliinermi atortut inuppalaartunngortinneqarnissaat, mekanikkip elektronikkillu assiliivimmit peerneqarnissaat, namminerli tassunga pulalluni avammut ammarnissaq, ingerlaqqillunilu assilisat ersersarneqanngitsut angissusiisigut assilinerisalu sivisussusiisigut (15 min. sivisunerusumut) misiliineq assiliinerup tunngavippiamigut uanngaanniit uunga pissusia assiliisumuttaaq tuttoq. Assilissap ersersarnera, ersersarneqanngitsup angisoorujussuup assiliiviup taartortaaniit tunniutaa, assiliinerullu sivisunerujussua periarfissiipput qaamarnup akisunnerata assip ilaanut assigiinngitsumik qinngornilersorsinnaaneranut. Assiliisup namminerpiaq assi erseqqivissumik ilisarnaasersinnaalerpaa. Uannit isigalugu, immaqalu assit nuutinneri allamullu saatitsiniarnerit illuatungilerlugit, aatsaat taama erseqqitsigisumik takorluuilersitsipput eqquissumik assiliinermik, toqqaannartumik ingerlaannartumillu avammut attaveqariaatsimik attaveqarnermut, assiliinerup pinngorneranut eqqarsaataasimagunartumik, pappialanngorlugillu naqitani takuteqqinneqartunik. Pia Arkep assilisaa siammarneqarnerpaasimasoq, Kujataani kangerlummut isikkivik immikkuullarissunik qaqqalik, assilisaavoq uanga nammineq perorfinnit isigisattut qamunga toqqugara. Ukiut 20-it sinnerlugit qaangiutereerput meeraaqatigiiffitsinniit isikkivik taanna takugakku, assilissallu taakku, nammineq qamani toqqukkama asingalersup aleqamalu 1990-imi assilisaa, imminnut sanilliukkukkit eqqortippunga siulleq erseqqarinnerujussuusoq, saniatigullu qalipaatilimmik assilisatut ittunik ulikkaartoq assigiinngisitaartunik qalipaatillu allanngorarnerinik, kingullertut naleqartiginngitsunik. Taamaattoq assilisaata uannut takutippaa tassani kingorna qanoq pisoqarsimanera: Inuerutitaavoq, avatangiisiminik piiaaffigisaavoq, ajorsaarneqarpoq filmimillu taarserneqarluni. Isumaqarpunga assilissat taakku tupinnartut kusanartullu tunngaveqartut pissutsimikkut eqqaamasanit takusanillu pisuugamik, pissuseq erseqqarivinnginnermikkut saqqummersitaat erseqqivissumik asserpiaminnit ingiarneqaratik, saniatigullumi assilissat saqqummerput namminneq takutitsinermikkut allanik ilumoortoqarneranik pasitsassaarinatik. Oqartoqarsinnaavoq assiliineq aallaqqaataaniilli marlunnut avissimammat,
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 46 and 47: LegeNde lugu, ajornanngippallu alla
Page 48 and 49: gata pissaanera erseqqissaqqippaa.
Page 50 and 51: silisat nalunaarsorneqanngitsut).19
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

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