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TUPILAKOSAURUS – An incomplete(able) survey of Pia Arke’s artistic work and research

Annotated by Beatrice Galluzzo
Year

2012

Publisher

Kuratorisk Aktion

Author

Kuratorisk Aktion

Topics
Social Justice
Related

Article "The Unforgettable Pia Arke", 2017
CAMP/Center for Art on Migration Politics website
Article "Feminisms in Postcolonial Nordic Spaces", 2015

Annotation

The inclusion of this book in the bibliography is my loving tribute to two amazing women and curators: Frederikke Hansen and Tone Olaf Nielsen, long-time collaborators in the collective Kuratorisk Aktion. Among many other things, Nielsen is the founder and co-director of Trampoline House (the refugee community centre hosting CAMP), and Hansen is co-founder, co-director and curator of CAMP. The massive book TUPILAKOSAURUS is the result of a decade-long research project carried out by both of them, and it constitutes the first survey in print of the seminal work of the Greenlandic-Danish visual artist and thinker Pia Arke (1958–2007), who is also among the artists presented in Threshold(s). Arke’s work is a precious witness to Danish colonialism in Greenland and what that meant for Greenlanders. Her starting point was the silence surrounding Denmark’s colonial presence in her native land: at a young age, she decided to devote her professional life to breaking that silence. The reading of this massive survey takes time and commitment, but it gives back so much.

Beatrice Galluzzo

In my delayed and unfinished settlement of accounts with colonial history I include a lot of stories that family and friends opened up for me, a confused cluster of memories attached to and released by these photographs taken in Scoresbysund (her hometown) and spread for the north wind. I make the history of colonialism part of my history in the only way I know, namely by taking it personally.
Related

Article "The Unforgettable Pia Arke", 2017
CAMP/Center for Art on Migration Politics website
Article "Feminisms in Postcolonial Nordic Spaces", 2015

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Decolonizing Appearance
The curatorial concept of CAMP was conceived by its two founders as divided into two pathways: the first one lasted from 2015 to 2017, with the title Migration Politics, the second one from 2018 to 2020 with the name State of Integration: Artistic Analyses of the Challenges of Coexistence. Decolonizing Appearance was the first exhibition of the second round.
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Threshold(s)
Threshold(s) was the last exhibition hosted by CAMP before its closure, and I am particularly fond of this show since I actively took part in its making and development day by day. Guest-curated by the Mälmo-based art historian Temi Odumosu, the exhibition wanted to investigate what happens when asylum seekers and migrants are granted residence and we must co-exist. Odumosu gathered works by five women artists, whose identities are ‘in the middle’, thus they currently live in Scandinavia but they were born in other parts of the world: Michelle Eistrup (Jamaican/Danish), Luanda Carneiro Jacoel (Brazilian/Norwegian), Yong Sun Gullach (Korean/Danish), Pia Arke (Greenlandic/Danish), Saba Bereket Persson (Ethiopian/Swedish). According to the curator, these women are ‘post-memorial artists committed to processing colonial legacies and their residual affects/effects, by bearing the personal, collective and cultural trauma of those who came before’. 
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Trampoline House is a community house guided by communitarian principles and participatory practices, providing a space for learning, exchange, organization, struggle and (legal, psychological, social, educational) assistance to its users. The house was founded in 2010 as a result of the common work among asylum seekers, refugees, artists, scholars and journalists in their efforts to break the social segregationist tendencies dominating the Danish asylum system.
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Trampoline House is a radically caring ethical, artistic and political project. It is a brave step to come out of the white cube and into life, making refugee populations visible, holding governments accountable and reshaping reality through affect and implication. It is is both an urgently needed support structure and a model for societal transformation, not only in Denmark, but in the whole of Europe.
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