Hvad er grønlandsk kunst og hvad er en grønlandsk kunstner?

Af Ivan Burkal

Der er ofte i medierne og det offentlige rum særligt fokus på ”det grønlandske” i grønlandsk kunst. Denne artikel tager ikke stilling til om det er godt eller skidt, men forsøger at problematisere ”det grønlandske” i forhold til lovgivningen.  

Hvad er grønlandsk kunst og grønlandske kunstnere
Det er der antagelig flere bud på, men det officielle svar kan man finde i Inatsisartutlov nr. 11. af 6. juni 2016 med den noget besynderlige titel ”lov om kunstnerisk virksomhed”. Virksomheden omfatter en række aktiviteter, som beskrives og afgrænses i loven (se § 1, loven kan findes på www.lovgivning.gl).

Loven definerer grønlandsk kunst som ”værker, der er udført af grønlandske kunstnere eller kunstnerisk virksomhed udøvet af grønlandske kunstnere”. Hvad der definerer en grønlandsk kunstner er ofte uklart, men også her er loven meget tydelig; en ”grønlandske kunstnere er kunstnere, der har fast bopæl i Grønland” (se § 2).

Tilskud til professionelle kunstnere siden 2003
Polemisk kan man så spørge; ja, men hvad ER en kunstner - ud over at være en person med fast bopæl i Grønland? I finansloven under formålskontoen KUNST (se 40.95) findes bl.a. de såkaldte kulturmidler, der kan søges med hjemmel i ovennævnte Inatsisartutlov. Af teksten på hovedkontoen fremgår desuden, at ”midlerne kan søges af enkeltpersoner, organisationer m.v. og ydes fortrinsvis til professionelle udøvende og skabende kunstneres aktiviteter og projekter, og til andre projekter med et højt kunstnerisk niveau”. Muligheden for at yde tilskud til professionelle kunstnere blev første gang mulig efter vedtagelsen af Landstingsforordningen om kultur- og fritidsvirksomhed i 2002 (§ 30). De nye muligheder for at støtte den professionelle kunst blev synliggjort i finansloven 2003, og om kulturmidlerne stod der, at ”Midlerne … ydes fortrinsvis til professionelle skabende og udøvende kunstneres aktiviteter og projekter”. Definitionen af en professionel kunstner, blev dog ikke fastsat i andre regler, selv om forordningen gav mulighed for det.

De politiske intentioner
I bemærkningerne til Inatsisartut loven om kunstnerisk virksomhed kan man få en idé om intentionerne med loven. Desværre udbydes hverken begreberne grønlandsk kunst eller grønlandsk kunstner og det professionelle element, som fremgår af finansloven, er heller ikke nævnt. Om loven i øvrigt står der i bemærkningerne, at loven” tilsigter overordnet at give kunstområdet en klarere status og større betydning som et offentligt ansvarsområde, herunder at tydeliggøre de offentlige myndigheders ansvar på området”, og ”Naalakkersuisut finder, at kunsten har en stor betydning for samfundsudviklingen, og at det er de offentlige myndigheders ansvar at sikre, at der er gode rammer for kunstnerisk virksomhed og befolkningens muligheder for at nyde godt af den kunstneriske virksomhed”.

Kunstloven der blev til ”loven om kunstnerisk virksomhed”
Hvis man politisk ønsker at give kunstområdet en klarere status og større betydning, må man vel forvente en vis professionel tilgang til såvel ”værker” som ”virksomhed”. Problemet er, at loven fra 2016 i høj grad er en ajourføring af forordningen fra 2002 og ikke en egentlig KUNSTLOV, der tager udgangspunkt i de skabende og udøvende kunstneres betingelser og behov - der i virkeligheden er meget forskellige.

Er det så ikke lige meget – i vores lille verden – om definitionen af grønlandsk kunst og grønlandske kunstnere fremgår af loven? Både og - når der skal deles penge ud, kan det have en betydning. For kunstlivet generelt har det en stor betydning. Hvis vi holder os til billedkunsten, kan man argumentere for, at der er gode billeder og dårlige billeder og billeder, der bliver til kunst. Med andre ord, det, der nu eller med tiden betragtes officielt som (billed)kunst, fordrer en offentlig stillingtagen til værkerne. Det kan ske gennem udstillinger, offentlige og private indkøb, legater og tilskud, anmeldelser, priser, uddannelser, bøger og tidsskrifter mv. Hvis man listede alle muligheder op og stillede sig det spørgsmål, hvor mange ”flueben” kan vi sætte her i landet, vil det blive til ganske få. Kunstskribenter og kritikkere spiller en særlig rolle i dette system, men manglen på dem her i landet og på hele det system, der over tid er med til at definere hvad der er kunst og hvem, der er kunstner, findes ikke.

Derfor udfordres kunstnerne ikke, og de bliver ikke interessante for andre uden for Grønland. Kunsterne bliver fastholdt i deres egen selvtilstrækkelighed og i en konform kunstverden.

Kunstindkøb og sikring af kulturarven
I forhold til det offentliges køb af kunst og her især Grønlands Nationalmuseum, der varetager forpligtelserne i forhold til kulturarven, må der siges at være en særligt problem. Hvis man ser på museets årsrapport for de seneste år og indkøbene i 2017, har museet indkøbt værker af kunstnere, der ikke falder ind under Inatsisartutlovens definition af grønlandsk kunst.

Det vil derfor været meget relevant om museet fastlagde en indkøbsstrategi for fremtidige indkøb til bevaring af kulturarven mht. kunstværker.

76 Comments

  1. Svar
    Daniel Thorleifsen 16. januar 2018

    Det er korrekt at Nunatta Katersugaasivia varetager forpligtelserne i forhold til kulturarven. Den er absolut ikke indsnævret til indsamling af “grønlandsk” kunst. Og Nunatta Katersugaasivia er ikke forpligtiget af hverken kunstlov eller andre love om kunstnerisk virksomhed og jeg vil ikke her indlade og kloge mig på disse områder. Det er korrekt at Nunatta Katersugaasivia foretager indsamling og tildels indkøb af kunstværker. Og i den henseende har museet skam en strategi for indsamling, som bloggeren ellers så tvivl om.

    Nunatta Katersugaasivia skal som en del af sin virksomhed også repræsentere al væsentlig kunst fremstillet i Grønland – og i nogle tilfælde kunst fremstillet i udlandet. Museet skal indsamle et bredt udsnit af kunst og denne indsamling sker udfra nogle forud definerede kriterier, således at museet ikke indsamler alt. Museet har i forvejen en repræsentativ samling af en del malerier, tegninger, skulpturer og andet kunst.

    Museet har retningslinier for indsamling af kulturhistorisk kunst og implementering af aktiv indkøb af kunstværker. Indsamlingen skal tage afsæt i kultur- og kunsthistoriske betragtninger, således at området belyser kontinuitet, forandring og variation i inuits og grønlændernes kunst fra de ældste tider til nutiden. Ved indsamling af kulturarv og indkøb indgår der blandt andre kriterier også følgende spørgsmål:
    • Kan kunstværket siges at have en væsentlig kulturel og kunsthistorisk værdi
    • Kan kunsten siges at have en bred samfundsmæssig appel
    • Hvordan indgår kunsten i en grønlandsk sammenhæng og kontekst
    • Hvordan adskiller kunsten sig fra den eksisterende indsamlede kunst og hvordan kan den relateres til museets eksisterende samling
    • Hvilket budskab har kunsten
    • Hvordan er værket forbundet til datidens/samtidens politiske, sociale og kulturelle miljø etc.

    Det skal præciseres at museets indsamling af kunst primært sker udfra kulturhistoriske kriterier snarere end æstetiske kriterier. Museet er ikke indkøbere af kunst som sådan. Det er der heldigvis andre der gør. Hvis jeg skal svare på overskriften må det være: grønlandsk kunst er mange ting og den er mangfoldig.

    Med venlige hilsner

    Daniel Thorleifsen

  2. Svar
    Ivan Burkal 20. januar 2018

    Ivan Burkal 20. januar 2018 – Svar til Daniel

    Tak for dit indlæg og præciseringen af Nationalmuseets strategi.

    Hensigten med mit indlæg er først og fremmest at gøre opmærksom på, at der nu findes en politisk besluttet definition på grønlandsk kunst og grønlandske kunstnere. Når du skriver at ”grønlandsk kunst er mange ting og den er mangfoldig”, kan jeg kun give dig ret, og jeg tror også, at politikerne mener det samme.

    Når det politisk er besluttet, at grønlandsk kunst er ”værker, der er udført af grønlandske kunstnere eller kunstnerisk virksomhed udøvet af grønlandske kunstnere”, og en ”grønlandske kunstnere er kunstnere, der har fast bopæl i Grønland”, så er det nærliggende at spørge, om dette har betydning for de kriterier, som Nationalmuseet indkøber efter?

    Museet har de seneste år indkøbt værker af kunstnere, der ikke bor her i landet. Man må gå ud fra, at indkøbene opfylder museets kriterier og derfor er helt i orden. Men i hvilket omfang vil denne praksis fortsætte?

    Så vidt jeg ved har museet meget begrænsede midler til indkøb (bevarelse af kulturarven). Indkøbene har derfor stor betydning for opbygning og vedligeholdelse af den kulturhistoriske kunstsamlingen og som en del af kunsthistorien.

    I forbindelse med høringen af Inatsisartutloven om kunstnerisk virksomhed argumenterede KIMIK for en anden måde at se kunsten/kunstnerne på, og at man brude have overvejet en egentlig kunstlov. Selvstyret var dog ikke imødekomme over for KIMIK´s forslag.

    Er det ikke mærkelig at definere en kunstner som en ”kunstner der har fast bopæl i Grønland” uden at fastsætte nogen som helst krav til kunstneren?

    Jeg mener ikke, at Nationalmuseet kan negligere Inatsisartutloven om kunstnerisk virksomhed, og museet bør i fremtiden også inddrage de politiske beslutninger, dvs. at et væsentlig kriterie må være, at kunstnere (hvem det så end er) har bopæl i Grønland.

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