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ISIKKIVIK SKANdINAVIAMIIT Polar Centerip atuakkanut toqqorsiviani misissuinermini Arkep ullut ilaanni naammattoorpaa nunasiaateqarnerup nalaani tunisaanerpaaq. Orsoq. Tassami atuakkat tunuanni nassaarai majuartarfitoqqat inissaminniinngilluinnartut, tipimikkullu nalunaatsut orsunik nivinngaatiterinernut atoneqarluartarsimasut. Taamani illu quersuaagallarmat KGH-llu qitiusumik quersuaralugu. Majuartarfiit tassaniittuarsimapput illullu allanngortiternerinik tamanik ilisimannittuullutik, Arkemit tiguneqarnissamik tungaanut. Inuttai ilisarnarsisillugit suliaani Orsumik majuussuiffik, Emil, Ole aamma Asger (1998) majuartarfiit atatinneqalerput assinut nunallu assinginut arlalinnut – angutinullu atii taaneqartunut – imaaliallaannarlu tumisivarput Tunup oqaluttuassartaa, danskinit isigikannernerullugu. Allatut oqaatigalugu eqqumiitsuliortoq nammineq tumisivarput, suliarlumi innersuussinernik ulikkaarpoq, inuup nammineq misigisai kattunneqarlutik nuna pillugu politikkimik oqaluttuarujussuarmut, Tunup nunap assiliorneranik ajugaaffigineqarneranillu imaqartumut, kiisalu sumiiffiit taakku pillugit nunamik ilisimatusarnermit nalunaarusianut eqikkaanerusunut Københavnip qeqqaniittunut, danskimmi Kalaallit Nunaannik ilisimasatik tassani toqqortaraat – tikitseqqaartut periaasivissuattut kappoqqutinik assigiinngitsunik qalipaatilinnik nalunaaqqutsersorlugit. Isikkivik Skandinaviamiit-mik isumassarsineq – tassalu Danmark paasineqarsinnaanngitsoq Kalaallit Nunaat qimerluujutiginngikkaanni illuatungaanullu – sangoriaqqippoq suliani arlalissuarni, taakkunani Arkep Narsap eqqaani Nuugaarsummi meeraaffiminiit kangerlummut isikkivia assiliivimmik putuaraannalimmik assilisani tunuani umissuanngortillugulusooq allanngortikkamiuk. Assiliiviup putuaraannallip sivisuumik qaammarfigitinnera pinngortitallu assilisaata alianaassusia assimi tassani isertorneqarsinnaanngillat, taannalumi Danmarkimi nunanilumi allani soqutigineqaqaaq piumaneqaqalunilu. Immaqa kalaaliusutut pinngortitamut sumiiffimmullu tassunga immikkut atassuteqarnerminik takorluuinerit putuniarlugit assi alliserujussuarpaa assitut ungalisaasanngorlugu, sunaluunniillu saavanut iligaluaruniuk takorluuisoqarsinnaalersitsilluni Kujataaniittutut. Taamaattoq suliat nutaat kisiannertariinarpaat erseqqivissumik saavanut ilineqarsimagami natersuaq Kalaallit Nunaata qaarsuatut takorluukkamik talliliisoq. Inimi erseqqivissumik iniusuusaartitami – assinillu aaqqissuisuusunit arlaleriarluni “ingitserneqartartumi”, taakkumi assi qiortartarsimammassuk Kalaallit Nunaanniissorinermik takorluuisitsileqqinniarlugu – Arke imminut takusassiarisinnaavoq “akusatut”, arnatut, illortaatut, silaarulluni kamattutut imaluunniit sutut paasiniarniarlugu eqqaasinnaasamisut, Kalaallit Nunaata sarsuatitanik takutitsivittut atorneqarneranut atassuseqaasersinnaasaminik. Video Issittumi silaaruttutut kamanneq (1996) saneqqunneqarsinnaanngitsumik illuatungiliunneruvoq ammip qalipaataa malillugu immikkoortitsinermut, tassuunami “kalaallip kinaassusia” taattuanut timaanullu inissinneqarmat. Arkep tamataqarani Kalaallit Nunaat assitut misissorpaa piviusunngorsinnaanngitsumillu pulaniarfigalugu. Tassa ilumoortoq aserorterisoq oqiliallatsitsisorlu. THEME SECTION 9: SCANDINAVIAN PANORAMA Pia Arke worked with a method that deliberately mixed ethnology and art. Here the ethnographer’s field work and the anthropologist’s humanism merged with aesthetic theory and the artist’s work with matter in a new kind of mongrel method. This section focuses on projects in which the method is used on the Scandinavian metropolis and on Denmark in particular. The problematic is still colonial history and its after-effects, but where Arke for the most part examined it from a Greenlandic angle, here she chooses the opposite approach and attacks the phenomenon through Denmark (and the Swedish west coast). Scandinavian Panorama takes its title from a series of black-and-white photographs of the same name – brought individually on the front page of the five issues that Litteraturmagasinet Standart published in 1998 – but begins with a project carried out by inmates at Herstedvester Prison in Copenhagen. For a number of years Arke visited the closed prison each week, where at her own initiative she ran an art workshop for the Greenlandic inmates. Exhibited here the project points to “the inhuman treatment we accept by sending Greenlanders to serve their sentences for an indeterminate period in Denmark”, as Tine Bryld has put it. With her sense for what has been overlooked Arke places her panorama on the periphery: in the art workshop for the invisible Greenlanders in Denmark and in Scandinavian Panorama in the suburbs of Gothenburg and the characteristic lack of character that only dormitory towns enveloped by the city’s growth can exhibit. The panorama appeared in 19th century Europe and created a never before seen illusion of being surrounded by and part of what was taking place in the picture. As an observer one had a command of the scene, standing in the centre and with a full overview of the pastoral landscape or victorious military battle unfolding before one’s eyes. Scenes from the time when granddad was young and the city had not grown too large to be overviewed. Pictures from before industrialisation and the rural population’s move to the metropolis. Arke takes up the thread from the tradition, but ties knots in it. Photographed from randomly chosen housetops in equally randomly chosen residential areas Scandinavian Panorama punctures the idea of overview as a supreme and perhaps sublime moment. Rather, it shows that any centre is a myth, a construction and in the same breath sows doubt about Scandinavia’s role as the centre of the Nordic region historically, culturally and politically. There can scarcely be any doubt that Denmark has been a trading centre for goods to and from Greenland, inasmuch as Royal Greenland (RG) had a monopoly for almost 200 years. One day during her research in the Danish Polar Center’s book magazine on Nordatlantens Brygge in Copenhagen Arke came across one of the colonial era’s best sellers: blubber. Concealed behind the books and quite out of place she found an old ladder that to judge from the smell had been much used to hang blubber on at the time when the building was RG’s central warehouse. The ladder had remained in the same spot and witnessed all the transformations of the building until Arke took it with her. In the key work The Blubber Ladder, Emil, Ole and Asger (1998) the ladder is linked with a number of photographs and maps – and three named men – and at once we are on the track of East Greenland’s history, somewhat from a Danish perspective, so to speak. In other words, we are on the track of the artist herself, and indeed the work is full of references that join the personal with the broad geopolitical story of the mapping and conquest of East Greenland and the more compact geographical account of the places in inner Copenhagen where the Danes keep their knowledge about Greenland – marked in the best pioneer style with coloured pins in an A-Z map of the city. The idea behind the Scandinavian panorama – that one cannot understand Denmark without at the same time panning over to Greenland and vice versa – is twisted further in the long series of works in which Arke has transposed the pinhole picture of the view from her childhood home across the fjord at Narssaq Point to a kind of backdrop. The pinhole camera’s long exposure time and the natural beauty of the motif are unmistakably present in this photograph, which has received much attention and been much in demand in Denmark and internationally. Perhaps in order to puncture the idea that as a Greenlander she would have an especially strong attachment to the landscape and the place, she blew up the picture to form a kind of photo wallpaper, which, no matter what she put in front of it, would create the illusion of being in South Greenland. However, there was just the little snag with the new works that quite unconcealedly there lies a carpet in front of and in extension of what is supposed to represent Greenland’s rocky ground. In this obviously constructed space – which has on a number of occasions been “deconstructed” by picture editors, who cropped the picture and thus re-established the illusion of being in Greenland – Arke was able to stage herself as mongrel, woman, cousin, hysteric or whatever else it might occur to her to investigate in relation to Greenland as a surface for projections. The video Arctic Hysteria (1996) becomes the ultimate showdown with the kind of racism that places the “Greenlandic identity” in the Greenlander’s skin and body. With her naked body Arke examines Greenland as a picture and the impossibility of becoming one with it. That is the lacerating and liberating truth. 63
Pia Arke & Kunstnergruppen Fyn i samarbejde med grønlandske indsatte i Anstalten ved Herstedvester. Uden titel. Ca. 1994 I det lukkede fængsel Anstalten ved Herstedvester sidder mange på ubestemt tid eller med en forvaringsdom. Den hårdeste straf et menneske kan få. Tidsubestemt. Aldrig at vide, hvornår man bliver sat fri. Omgivet af en ringmur, overvåget og kontrolleret, med få timers gårdtur hver dag, en skemalagt hverdag og regler fra en svunden tid sidder også grønlandske dømte, der har begået alvorlig personkriminalitet. Der findes nemlig ikke lukkede fængsler i Grønland. Ingen troede, der ville opstå et behov. Den grønlandske kriminallov bygger på resocialisering, ikke straf. Året er 1953: Progressive danske jurister og kriminologer sendes til Grønland, imens landet ændrer status fra dansk koloni til at blive del af det danske rige. De næste årtier betød en total ændring af det grønlandske samfund. Fra at være et fisker- og fangersamfund med mange bygder og byer blev Grønland til et industrisamfund med en befolkning, der skulle være lønarbejdere. Små bygder blev tømt for indhold, befolkningen rykkede sammen i huse og store blokke i vestkystbyerne, hvor fiskeindustrien udviklede sig. Mange gik til grunde. Mange følte sig som tilskuere til en udvikling, de ikke var en del af. Kriminaliteten og selvmord fulgte med, og man kunne ikke længere rumme så mange, der faldt uden for fællesskabet. Deporteringen til Danmark af fysisk og psykisk handicappede begyndte, og de første grønlandske kriminelle, der havde lavet grov personkriminalitet, blev sendt til Herstedvester, der på det tidspunkt havde en psykiatrisk ledelse. Formentlig troede man, at disse mænd ville få behandling; det lød i hvert fald bedre end et lukket fængsel. Endnu tre årtier svandt hen uden, at man havde bygget et lukket fængsel i Grønland, og derfor anbringes der fortsat grønlændere i Herstedvester. I de sidste år har antallet været omkring 20. De sidder alle på ubestemt tid. Mange har været der flere gange, mange har siddet mellem 10 og 30 år. I dette helvede kommer en dag en ung kunstner forbi. Hun har læst, at der har været en kunstnergruppe på besøg, og tilbyder sin arbejdskraft i 64 weekender, hvor tiden falder de indsatte særlig lang, og hvor de ikke har arbejdspligt. Det er omkring 1992. Jeg havde selv udgivet to bøger om de grønlandske dømte og var stærkt påvirket af den sorg, vi påførte mennesker, der udover en alvorlig straf også var sendt til et land, de ikke kendte. Mange talte ikke dansk og var totalt afsondret fra alt: familie, venner, kultur. Pia Arke talte ikke grønlandsk, men de følte, hun var en af deres. Hun kom med lyset, engagementet, men uden en viden om dem, hun skulle undervise i kunst. Jeg ved, det var svært i begyndelsen. Vi lærte hinanden at kende netop af den grund. Arke var et nysgerrigt menneske, og hun opsøgte mig for at vide noget om de mænd, hun ville formidle kunst til. Hun kom, hun gav, hun levede med gruppen flere timer hver weekend eller i hvert fald mange weekender. Eftermiddage blev til samvær og udfoldelse af den enkeltes særlige behov for at udtrykke sig. “Hun betød rigtigt meget for os. I begyndelsen var vi kun tre, der ville lære af hende, men da de andre så, hvad hun betød for os, meldte de sig, og til sidst var de fleste af os med”, fortæller Ole Møller, en af de indsatte, der har siddet længst tid i Herstedvester. “Hun tænkte ikke på os som kriminelle, men som mennesker fra et land, hun var opvokset i. Hun kendte vores kultur, vores måde at tænke på, og selv om hun ikke talte grønlandsk, så følte vi en dyb samhørighed med hende. Hun var modig. Hun ville gerne lære fra sig, hun ville gerne udfordre hver enkelt af os, men hun ville også have, at vi arbejdede sammen om et eller flere værker. Jeg kan huske, vi skulle bruge vores hænder og fødder, dyppe dem i maling og få farver og lemmer til at mødes og blive til det, vi sammen kunne finde ud af. Det blev til store værker, som vi udstillede i kirken, så de andre indsatte i Herstedvester kunne komme på udstilling. Når vejret var godt, malede vi uden for. Jeg tror, alle kunne se, hvad det betød for os.” Tine Bryld Pia Arke & Fynimi eqqumiitsulioqatigiit kalaallit Parnaarussivimmi Herstedvesterimi Parnaarussivimmi matoqqasumi, Anstalten ved Herstedvesterimi, kalaallit amerlasuut piffissaligaangitsumik iml. parnaarussivimmiittussatut pineqaatissinneqarsimasut inissinneqarsimapput. Inummut pillaat sakkortunerpaaq. Piffissaligaangitsumik. Qaqugu aniguisinneqarnissartik ilisimanagu. Kaajallallugu qarmalimmi, nakkutigineqarlutik misissorneqarlutillu, ullormut akunnerpaalunnguit aneersinnaallutik, ullup ingerlanissaa malittarisassalik qanganitsanillu maleruagassalik, tassani aamma kalaallit inummut sakkortuumik pinerluuteqarsimanertik pillugu pineqaatissinneqarsimasut parnaarunneqarsimapput. Kalaallit Nunaannimi matoqqasunik parnaarussiveqanngilaq. Taama pisariaqartitsilernissaq ilimagineqarsimanngikkaluarpoq. Kalaallit Nunaanni pinerluttulerinermi inatsisit anguniagaraa pinerlussimasoq innuttaasunut ilaaleqqinnissaa, pillarnagu. Ukioq 1953-imi tamanna atuutilerpoq. Qallunaat inatsisilerituut pinerluttulerinernik ilisimatusarsimasut siuarsaarusuttullu, nuna nunasiaajunnaarluni qallunaat naalagaaffiannut ilanngunnerani, taamani Kalaallit Nunaaliartinneqarput. Ukiuni tulliuttuni qulikkaani inuiaqatigiit kalaallit aaqqissuussaanermikkut allanngorluinnarput. Piniartutut aalisartutullu nunaqarfippassuarni illoqarfinnilu inuunermiit suliffissuaqarfinni sulisartutut inuulernermut nikeriartoqarpoq. Nunaqarfiit minnerusut imaarneqarput, innuttaasullu kitaani illoqarfinnut aalisakkanik suliffissuit ineriartorfiinni illunut inissiarsuarnullu katersuupput. Amerlasuut maangaannarput. Amerlasuut ineriartornermut peqataanatik isiginnaaginnartutullu misigisimapput. Pinerluttarnerit imminoortarnerillu ineriartornerup nassatarai, ataatsimoornerullu avataannut inissisimasut inuiaqatigiinni aallunneqarsinnaajunnaarlutik. Tarnimikkut timimikkullu innarluutillit Danmarkimut nassiunneqartalerput, taamatullu inunnik sakkortuumik pinerluuteqarsimasut Herstedvesterimut taamanikkut tarnip pissusaannik ilisimasalinnit aqunneqartumut nassiunneqartalerlutik.Isumaqartoqarsimagunarluni, taakku angutit katsorsarneqassasut, tassami matoqqasumi parnaaruteqqanermiit tusarnernerummat. Ukiut 30-it suli ingerlapput suli Kalaallit Nunaanni matoqqasumik parnaarussiviliortoqarani, sulilu kalaallit Herstedvesterimut inissinneqartarlutik. Ukiuni kingullerni taama inissitat 20-it missigaat. Tamarmillu killeqanngitsumik inissinneqarsimallutik. Amerlasuut arlaleriarlutik inissinneqartarsimapput, amerlasuullu ukiuni 10 – 30-ni parnaarunneqarsimallutik. Taama imaannaanngeqisumik inissiivimmut
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Kurateret af Kuratorisk Aktion i sa
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At skubbe til historien: En introdu
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ersoqatigalugit, soorlu eqqumiitsul
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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 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 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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