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uttutut kamanneq. 1997 sigiinngitsigisunik paasiniarneqarsinnaanera. Arke kingumut qiviarpoq takutillugillu arnat isikkorissut. Namminneq avatangiisiminni angutinut illissaarput. Angutip kajungernera takutippaat. Ilisimasaqarusunneq, pissaaneqarneq atoqatigiinnerlu. Angutip qarliimmi iluatigut tissarnera. Kajungerneq ima erseqqitsigisoq allaat ilisimatusarnerup atisallu ammit iluannut toqqortariaqarluni. Kisianni takuneqarsinnaalersarpoq arnat qanoq assilisinnerisigut: “The Mistress of the Tupik”, “Arctic Bronze” aamma “Flash-light Study”. Pearyp, Hensonip, Entrikinip imaluunniit Clarkip erfalasoq Qalasersuarmi kisimik nappanngilaat. Suliaat piviusunngunngisaannarsimassagaluarput nunaqavissunit, arnanit, ikiorneqarsimanngikkaluarunik. Arnap atisaliuuppai, nerisassiuuppai, aqqutissaannik ajoqersuuppai, ilami takornartat taakku issittup pissusivianik paasitippai. Naatsorsoruminaatsutut, tinnapaartutut nujuartatulluunniit inngilluinnarpoq. Kusanartuuvoq, ilisimasaqarluarluni kissalaartuullunilu. Issittumut ornigukkusunnermi pingaarutilik, puigorusutarli, atoqatigiinnermut tunngavoq. Peary avanersuarmiumik arnamik, taamani 14-iinnarnik ukiulimmik, ilaqartalerpoq. Tamanna Pearyp aningaasaliisuinit miserratigineqarpoq puigoqquneqarlunilu. Qalasersuarmut angalanerit aningaasalersorneqarnerisa tunngavigaat Pearyp minguissusia. Paatsiveerutitsisimassagaluarpormi, ajunaarnersuunngikkuni, inunni qernertunik qaqortunillu immikkoortitsisuni tamanna paasineqaraluarpat. Takusassarsiortut eskimuut arnartaannik aqqusaakkaminni naapitaminnit illigilikkaminnillu atoqateqartarnermikkut qassiunerinik ilisimaneqanngitsunik kinguaaqarput. Kisianni tamakku oqaluttuarisaanermi pilikkimik ersinngitsumik allanneqarput, assuarnarmata. Arke inunngorpoq assersuutitut taaneqartutut eskimuup arnap Pearyllu imminnut sammisimanerattut. Kalaallimik anaanaqarpoq qallunaamillu ataataqarluni. Alliartorpoq akuleriiaat, oqaluttuarisaanermik toqqorterisut allanngorartitsisullu, akornanni. Inuunini atorpaa paasineqarsinnaanngitsut allatallu akornanni allanneqanngitsut paasiniarnerinut uppernarsaatissarsiorluni. Issittumi silaarulluni kamannermi kiisami arnaq saqqummerpoq, aamma arnatut pissusimigut. Pissaanilik, patajaatsoq eqqissisimasorlu. Iben Mondrup Pia Arke. Arctic Hysteria. 1997 In Pia Arke’s photo work Arctic Hysteria (sometimes also referred to as Arctic Hysteria IV) I first see that which is naked as opposed to that which is clad in skins and furs. Summer as opposed to winter, nature as opposed to science. It is in all respects opposites that meet in the prototypes of the male explorer and the female savage, 7 persons in all, whom Arke has drawn out of the yellowed pages of the polar explorer Robert E. Peary’s descriptions of his journeys. The next thing I see is the title of the work: Arctic Hysteria. Very dramatic, seen in relation to the peaceful poses of the people portrayed. The title points out of the work. Points to Arke’s life and the way in which it merged with the reality around the explorations of the early ethnographers’ journeys in Arctic cultures. “Arctic hysteria” (piblokto) was a culturally related psychopathological phenomenon that Peary’s contemporaries diagnosed in the Eskimos. The condition, hysterical screaming followed by cramps and loss of self-control, was, it seemed, virtually psychotic. It appeared in winter and especially in women who suffered from vitamin poisoning – it was believed. That kind of hysteria was just one of the spectacular features that were observed in the polar regions. Together with other peculiarities it would come to constitute the science that was to explain the savages’ mental instability and legitimise the cultural superiority of the white race. There are photographs documenting “Arctic hysteria”. Driven by her curiosity about the ways in which photographs can generate history, Arke unearthed these pictures. One of them was a photo of a semi-naked woman being held by two men in front of the camera and screaming with fear. Arke was not given permission to use the specific picture in her work, probably because it was too compromising. It embodied the latent violation that also formed part of scientific investigations at that time. But Arke found her own ambiguous way of examining “Arctic hysteria”. Arke goes back and shows instead the women with their ample forms. In their element they make a show of themselves for the men. She shows male lust. For knowledge, power and sex. His erection under his clothes. A lust that was so pronounced that it had to be covered under science, skins and furs. But which appears in the way the women have been posed: “The Mistress of the Tupik”, “Arctic Bronze” and in “Flash-light Study”. Peary, Henson, Entrikin or Clark planted more than just their flags at the Pole. Their feats would never have been possible without massive assistance from the natives, from the women. They sewed clothes, made soup, showed the way and in general initiated the strangers into the reality of the Arctic. She was anything but unstable, insane or savage. She was beautiful, gifted and warm. An important but repressed part of the advances in the polar region was sexual. Peary had an Eskimo woman, who was only 14 years old at the beginning of their relationship. This was denied and suppressed by Peary’s supporters. The financing of the polar journeys was dependent on Peary‘s purity. Knowledge of the relationship would have caused confusion, would have been disastrous, in a conceptual world where black and white had to be kept separate. In return for sex, the adventurers left behind an unknown number of descendants; children they had with Eskimo women that they met and desired along the way, but who were recorded in history in invisible ink, because they were inappropriate. Arke was born out of the relationship between the symbolic Eskimo woman and Peary. She had a Greenlandic mother and a Danish father. She grew up in a bastardised world, between historical repression and historical displacement. She devoted her life to reassembling the documents, to making out what was unclear and to reading between the lines. In Arctic Hysteria we for once see women as they also were. Powerful, balanced, cool. Iben Mondrup 27
Pia Arke & Anders Jørgensen. Countryside – En installation om blomster og land. 2005 Overtoning fra hvid til et arktisk snelandskab – en tysk fortællerstemme navngiver stedet som “Liverpool Kysten”. Stemmen fortæller om den enorme kuldestråling fra det nordlige ishav, som bevirker, at der ingen steder er sammenhængende plantedækken. Den tyske tekst præger billedet. Især overskriften “Flora” tiltrækker sig opmærksomhed, mens is-panoramaet forsvinder, og et brunligt pulver drysser ned over en stenet baggrund i slow-motion. Sådan åbner værket Countryside – En installation om blomster og land, der blev Pia Arkes sidste videoinstallation og det sidste anderledes portræt af stedet, hun altid kredsede om: Scoresbysund. Som en direkte lystpræget kontrast til det krævende arbejde med bogen Scoresbysundhistorier (Borgens Forlag, 2003), kan man se Countryside som en æstetisk meditation over skønheden – som en menneskelig livsbetingelse. Ekspeditionstemaet er det igangsættende moment for en udforskning af forholdet mellem den store og den lille historie – eller det videnskabelige og det per- 28 sonlige. Under sin research i Scoresbysund mødte Arke en grønlandsk kvindes ukuelige tro på, at man selv mellem golde klipper kan få de smukkeste blomster til at skyde op ved at plante dem i rigelige mængder af kaffegrums. Med et fortællemæssigt kunstgreb placeres denne personlige historie i slægtskab med den tyske botanikers ukuelige drøm om at finde nye plantearter på trods af de minimale livsbetingelser, som stedet tilbyder. På sin egen geniale facon kombineres her det lystprægede – kaffen, blomsterne og drømmen – med det ekspeditionshistoriske – kolonisering, fremmedgørelse og fornuft – til en dragende Arketypisk udfordring af vores evne til at fastholde stereotype forestillinger om den landlige idyl. Anders Jørgensen Pia Arke & Anders Jørgensen. Qaqortuinnarmiit issittup aputaanut nuukkiartuaarneq – tyskisut oqaluttuartup taavaa tassaasoq “Liverpoolip Sineriaa”. Oqaluttuaraa sikuiuitsup tungaaniit silaannaq sunniuttoq nillingaarami siammaattunik naasoqartitsisinnaanngitsoq. Tyskisut allassimasut assiliaq tamakkiusarpaat. Pingaartumik qulequtaa “Flora” [Naasut] maluginiarnarneruvoq, sikumut isikkiviup tammariartornerani, qajuusaasallu kajortut nunamut ujaraannangajaasumut kigaallisitamik assilillugit nakkalaarneranni. Taama aallartippoq isiginnaagassiaq Countryside – Naasunik nunamillu ikkussuineq, Pia Arkep videoliaa kingulleq uteqqiaffigiuakkaminillu Ittoqqortoormiinik allatoortumik ilisarititsinera kingulleq. Atuakkiamut suliarujussuarmut Ittoqqortoormiiniit Oqaluttuat (Borgens Forlag, 2003) illuatungiliisutullusooq qaamasumit sunnikkatut Countryside isigineqarsinnaavoq kusanassutsip kusanartuliamik eqqarsaatigeqqissaarneratut – soorlu inuummut uumassutaasutut. Ilisimasassarsiornermut atasumik sammisaq aallartitsisuuvoq oqaluttuarujussuup oqaluttuannguullu akornanni pissutsit misissornerinut – imaluunniit ilisimatuussutsip inuullu ataatsip akornanni. Misissuilluni Ittoqqoortoormiiniitilluni Arkep
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 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
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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
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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
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Page 68 and 69: Skandinaviamiit. 1998 vik Skandinav
Page 70 and 71: uttutut kamanneq. 1996 “Issittumi
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og Kulturvidenskabimi immikkoortort
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historier. Udsmykning for Danmarks
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Kayak - Contemporary Art from Green
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Poems (Fisker & Shou, 1997). I de s
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pimoorullugu akuliusimasuuvoq eqqum
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METTE JØRgENSEN is a teacher and w
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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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