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taaneqartartoq Perlustrationer 1-10. 1994 kræftip navianartorsiortitsineranik eqqorpaatigut. Pulaartoq pinngitsaalisatut kræftimik eqqorneqarsimasumut qiviartariaqarpoq, eqqissinissaminulli ikiorserneqarluni qissiminnermit oqaluttuartumillusooq arnaassutsip ilivitsuusup, tamarmiusup, uteqqinnissaanik takorluuinermut. Malugineqarsinnaavoq ikeq ikillu maminnissaa nakorsat paaseriigaasa illuatungerluinnaaniittoq, soorlu immaqa kulturit marluk akornanniilersimasup misigisamigut kingunerlutsitsilersumut assersuunneqarsinnaasoq. Kisianni Arkep isiginnitsini taama ajornanngitsigisumik misigitikkusunngilai. Assilissat arfineq pingasut taakku akornanniippoq saqqummersitami assilissat paasiuminaannersaat, inuup assilineqarusunngitsutut ittup assinga, sequnnginganermigulli takutitsisoq kinaassutsiminik illuatungiliisutut, nittarsaatin-ngitsoq, eqqarsarpasissoq nappaateqarneranillu malunnaateqanngitsoq. Ataqqinarpaluttumik eqqissisimalluni, takorluukkamini taartuniilluni, kiinaa assilissatut saqqummeriartorpoq, pingaa-ruteqarpaluttutut, kalaallit kiinarpaliaattuulli pingaaruteqarpalutsigaluni, Inuillu nagguippiaanniippalulluni, qaqugumulluunniit atasussamik eqqortuusumik uppernarsaatitut naalakkersuisut mitallikujussinnaasunik silatusaarniarnerisa qeqqanni ataqatigiissitsiniartutut. Tamanna saqqummersitani immaqa qajassuaassinnaasumik nassuiaaneq eqqumiitsuliortup nammineerluni nassuiaaserpaa qulequttat marluk ataqatigiissinnerisigut. Qulequttamik Nature Morte (oqaatsip nagguia malillugu isumaqartumik “pinngortitaq toqungasoq”) atuinermigut nassuiaannanngilaa tassaaginnangitsut aalasortaqanngitsumik assilisat, ersersilluguttaarli toqoriaatsit marluk periaannaasut: Piviusoq tunniutarlu, tassalu suli inuutilluni aanaveersagaaneq, eksimuujusuusaarneq kalaaliulluniluunniit allamiunngortitaaneq. Illuatungaani Perlustrationer-ini Arkep nunasiaataaqqaarnermiit pissutsit ingerlateqqippai, oqaatigilluaannarlugu Hans Egedep ilisimalikkaminik atuakkiaa 1741mi saqqummersoq qulequtaqarluni Det gamle Grønlands nye Perlustration eller Naturel-Historie. Takornartat oqaasiinik ordbogip, Meyerip qanga saqqummersitaata, takutippaa oqaatsit atorneqartut toqqaannarlugu nutserneqassasut “Misissuineq, katersuineq”. Taamaattoq oqaatsinik paasinnittaaseq paasiniarluariaraanni oqaaseq “perlustrere” nutserneqarsinnaalerportaaq “oqallisiginninneq”. Sulilu tarparnerusarpoq oqaatsit nagguiinik nalusut “paasisitsiniaallutik” oqaatsip nutserneqarnissaatut siunnersuutigigaangassuk “qinngorneqalersippaa, nersorpaa”. Oqaatsit nagguiinik isumaannillu qanorlu aamma isumaqartinneqarsinnaanerinik, uani taasannik, Arkep atuiniarsimasinnaanera ilisimasinnaanngilarput. Kisianni arlariinnik qulequtsiilluni suliaqarsimanera kissaatigisamut tulluuppoq, isornartorsiuisinnaanerata eqqumiitsuliortutullu suliaasa taanna qularutissartaarutitikkunarpaat. Suliaasa kingulliit tamanna suli sakkortunerusumik uppernarsarpaat. Finn Thrane Pia Arke. Nature Morte alias Perlustrations 1-10. 1994 Anyone who in 1994 was confronted for the first time and without any kind of preparation with Pia Arke’s series of black-and-white photos received no help either from the photographer or from the titles that the artist was juggling with: Nature Morte or Perlustrations. But with them the series expands and plays teasingly with their meanings. Like a decisively cut film it jumps ruthlessly between the private and the official, between light and dark, between present and past and between fiction and documentation. Through these apparently incompatible components and narrative modes the work places itself promisingly, for as an artist Arke never became easy to deal with. Like the rest of her oeuvre the series is a fearless settlement of accounts with the picture of Greenland she brought with her from her childhood in the big Arctic country and not least with the interpretations of that country and its population that she encountered as an adult when looking for information on the near or distant Greenlandic past in public libraries or scientific reports. In a close reading of the series it becomes possible to distinguish between narrative time and narrated time. Thus we are placed by the author in narrative time when Arke opens the series with the right hand’s gesture of welcome and in the concluding picture rounds it off with the left hand’s signal that the framework has been closed again. In the intervening eight pictures we explore the narrated time’s various niches; first through a meeting with the toy dog that suggests the unconscious innocence of childhood, later through the meeting with old texts in leather bindings that among other things bear the name of the 18th century preacher Hans Egede and later again through the stylised illustration and the attached instruments that anticipate the metrological rules of science and the ethnologist’s reductive methods of investigation. But while these motifs are present as museal objects to be studied (the dog and the books are placed between book ends, ready to be labelled and viewed from a distance), the remaining pictures take us on a visit in a women’s world that allegedly borders on the narrative time of the work and from this position delivers the series’ passionate existential counterpoint. In a clinical white light the threat of cancer meets us head on. The viewer is forced to exchange glances with the cancer sufferer but is helped to find repose by the discreet glimpse of the prosthesis that can bring back the illusion of intact femininity. One senses that the wound and its healing are founded on perspectives that go beyond the medical diagnosis, perhaps as a metaphor for the trauma that afflicts those who stand between two cultures. But Arke does not let her viewer off so lightly. Among the eight pictures of the series there remains its most enigmatic image – the portrait that refuses to be a portrait, but with its closed eyes becomes the author’s alter ego, introverted, thoughtful and without visible signs of illness. Serenely calm, resting in the darkness of the dream, the face grows into a picture, loaded with meaning like a Greenlandic mask and Inuit archetype, a timeless witness to the truth and a mediator between the other soberly ironic statements. This possibly rather heavy-handed interpretation of the series feeds on commentaries from the artist herself via the dialogue between the two titles she has used. By Nature Morte (which literally means “dead nature”) she comments not only on the still lifes used by the series, but also links up to the two forms of death lying in wait: both death as such and death in a metaphorical sense, namely becoming embalmed while still alive, becoming an Eskimoic prosthesis or alienated Greenlander. With the alternative title Perlustrations Arke establishes a link with the early colonial days, with Hans Egede’s account of his explorations published in 1741 under the title Det gamle Grønlands nye Perlustration eller Naturel-Historie [The Old Greenland’s New Perlustration or Natural History]. Meyer’s old dictionary of loan words gives the strict translation of perlustration: “Review, inspection”. The English verb form, “perlustrate”, means to travel though an area, while if we drop the prefix, the Latin “lustrate” has the figurative meaning of “to illuminate”. We cannot know whether Arke played with etymology and connotations along these lines. But it can scarcely be doubted that the two titles she worked with were intended to create a fusion of the critical and artistic fields in which she worked. Her later production provides strong proof of this. Finn Thrane 57
Pia Arke. Scoresbysundhistorier. Fotografier, kolonisering og kortlægning. 2003 Pia Arkes bog Scoresbysundhistorier er et litterært objekt, som er vanskeligt at placere i nogen bestemt genre. Bogen bærer undertitlen Fotografier, kolonisering og kortlægning, og det er betegnelser, der både er præcise og lidt for neutrale. For bogen indeholder først og fremmest Arkes personlige forsøg på at finde en nogenlunde sammenhængende fortælling om tilblivelsen af et ganske særligt sted og livet dér: Stedet er på Grønlands østkyst, og det blev befolket med fangerfamilier fra Angmassalik, men hensigten med stedets oprettelse var dansk og tænkt som en geopolitisk løsning på spørgsmålet om, hvilket land – Danmark eller Norge – der besad “overhøjheden” over den nordøstlige del af Grønland. Den svenske forfatter og kulturanalytiker Stefan Jonsson har derfor forsynet bogen med “kartografiske afsnit”, der gør rede for den typiske forbindelse mellem opdagelsesfærd, antropologi, geografisk korttegning og politiske målsætninger, der var karakteristisk for en kolonimagt i imperialismens tidsalder. Bogen er resultatet af en billedkunstners arbejde, men i stedet for at bruge sit talent til at skabe malende skildringer af et isoleret udsted i en ødemark, har Arke ladet det isolerede og fjerne vise sig selv: Billederne er derfor – bortset fra en række portrætter – andres fotografier, og læseren får ligeledes mulighed for at lytte til mange grønlandske stemmer i beretningen om livet i Scoresbysund (på østgrønlandsk: Ittoqqortoormiit) over tre generationer. Men tilgangen til emnet, fremstillingen af de mange undersøgelser, Arke foretog under studierejser til Scoresbysund, bærer alle præg af den uhildede billedkunstners evne til at videregive indsigter. 58 Arke var selv rundet af denne befolkningsflytning, om end på en tværgående måde. Som barn havde hun levet flere steder i Grønland og i metropolen Danmark: Bogen er derfor både dybt indfølt og muntert berettende, forfattet af en person, der ser og hører ting for første gang, som hun på en måde havde forestillet sig, følt, at de kunne være. Iagttagelserne danner en tekst fuld af menneskelig forståelse og undren. Givetvis mellem omsorg og solidaritet, som når Arke beretter om de blandede ægteskaber og de børn, der blev født i dem, men også mellem humor og kritik. Se blot forsidebilledet på bogens omslag! Scoresbysund var et sted “uden”: uden hukommelse, uden beretninger fra fortiden, uden minde, uden succes. Dette “uden” udgjorde den store udfordring for det lille epos, Arke satsede på at fremmane ved hjælp af billeder og beretninger. Til dette epos leverede Jonsson afgørende rammer og tekstur – atter fra siden, eller tværgående i forhold den store historie om Danmark og “vore oversøiske besiddelser”. Med denne bog fik den store historie tydeliggjort sit diskrete knudepunkt; det er herefter ikke muligt for grønlændere og danskere at fortrænge det faktiske i den fælles kolonifortid, begivenhederne, livet og magten i forrige århundrede. Den italienske filosof Giorgio Agamben har for ikke så længe siden skrevet, at for at forstå forholdet mellem Vesten og den øvrige verden skal man forstå lejrene. Mellem København og Godthåb var der et lignende omdrejningspunkt: Det hed Scoresbysund. Carsten Juhl Pia Arke. Ittoqqortoormiiniit Oqaluttuat. Pia Arkep atuakkiaa Ittoqqortoormiiniit Oqaluttuat atuakkiaavoq atuakkioriaatsit sammiviannut sorlermut inississallugu nalunartoq. Atuagaq qulequtaaraqarpoq Assit, inulerneqarnerat nunap assiliornerlu, taaguusersuinerillu eqqorluinnarlutillu arlaannut atanngippallaaluatsiartutut ipput. Tassami atuakkap pingaarnerpaamik imaraa Arkep nammineq inuttut nassaarinninniarnera najugaqarfiup immikkorluinnaq ittup pilersinneqarnera tassanilu inuunerup ataqatigiissaakannernissaanik oqaluttuarnissaq. Najugaqarfik Kalaallit Nunaanni Tunumiippoq, ilaqutariinnillu piniartukkuusunit Ammassalimmeersunit inulerneqarluni, inoqarfiulli pilersinneqarnerata siunertaa danskinit pinngorpoq eqqarsaatigineqarluni nunamik piginnittussaanermik politikki tunngavigalugu apeqqummut nunap sorliup – Danmarkip Norgelluunniit – Tunup avannaannut “oqartussaaneranik” aaqqiiniarnermik. Taamaattumik svenskip atuakkiortup kulturinillu paasiniaasartup Stefan Jonssonip atuakkamut ilannguppai “nunap assiliornerinik immikkoortortat”, nassuiaasut ilisimasassarsiornerit, inuit nagguiinik ilaqutariissusaanillu misissuinerit, nunap assiliornerit politikikkullu anguniakkat, nunasiaateqarniarnerup ukiuisa nalaanni nunasiaateqarniat ilisarnaataat, taamani pissutsinik ersersitsisut. Atuagaq pinngorpoq assilialiortartup suliaasa inernerattut, taamaattorli eqqumiitsuliortutut piginnaanini nunaqarfiup avinngarusimalluinnartup qalipaatigissaartumik oqaluttuarineranut atornagu Arkep avinngarusimasoq ungaseqisorlu nammineersillugu takutippaa. Taamaattumik assilissat – inuit ataasiakkaat assingi eqqaassanngikkaanni – allat assilisaat, atuartumuttaaq periarfisiipput kalaalerpassuit nipaannik naalaarnissaannut Ittoqqortoormiini kinguaariit pingasut qanoq inuusimanerannik oqaluttuartunut. Kisianni tassunga pulanissamut, misissuinerpassuarnik, Arkep paasiniaalluni Ittoqqortoormiiliartarnermigut, paasisaminik oqaluttuarneri tamarmik ersersitsipput eqqumiitsuliortup arlaannaannillunniit illersuinngitsup
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Kurateret af Kuratorisk Aktion i sa
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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 52 and 53: NIAQQUP SAARNgI SAANI- KULLU QALLOR
Page 54 and 55: gitsut. 1990 tassalu assiliiviup sa
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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