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Los Colores Del Ártico Arctic Colors Los colores del Ártico arte y cultura inuit Presentando la exposición itinerante de Judith Varney Burch: Nunavut Culture on Cloth Arctic colors Inuit art and culture Featuring Judith Varney Burch exhibition: Nunavut Culture on Cloth Catálogo de publicaciones del Ministerio: www.mecd.gob.es Catálogo general de publicaciones oficiales: publicacionesoficiales.boe.es Edición 2016 MINISTERIO DE EDUCACIÓN, CULTURA Y DEPORTE Edita: © SECRETARÍA GENERAL TÉCNICA Subdirección General de Documentación y Publicaciones Fotografías: © Yukon Arts Centre Public Art Gallery © Museo Nacional de Antropología NIPO: 030-16-394-2 ISBN: 978-84-8181-646-4 Depósito Legal: M-22008-2016 Imprime: Papel reciclado Cualquier forma de reproducción, distribución, comunicación pública o transformación de esta obra solo puede ser realizada con la autorización de sus titulares, salvo excepción prevista por la ley. Diríjase a CEDRO (Centro Español de Derechos Reprográficos) si necesita fotocopiar o escanear algún fragmento de esta obra (www.conlicencia.com; 91 702 19 70 / 93 272 04 47). Los colores del Ártico: arte y cultura inuit es la Con Los colores del Ártico, el Museo fascinante aventura de acercamiento a las comu- Nacional de Antropología avanza en su com- nidades que habitan las frías tierras del norte de promiso con el fomento de la tolerancia y el América que el Museo Nacional de Antropología respeto hacia la diversidad cultural y el reco- nos propone durante el verano de 2016, más nocimiento de la riqueza de valores que otras concretamente, del 1 de junio al 18 de septiem- sociedades distintas a la nuestra atesoran, en bre. Se trata de un viaje de redescubrimiento especial de aquellas que, como los inuit, man- de una cultura de la que creemos saber lo sufi- tienen o han mantenido hasta hace poco una ciente gracias a su popularidad mediática pero relación más armónica y sostenible con el de la que, en realidad, como esta exposición medio natural. Un avance que se produce si- nos muestra, disponemos sólo de una imagen guiendo una nueva línea de acción de la que estereotipada. forman parte exposiciones como ésta o Tigua: Hace de vehículo para esta experiencia una arte desde el centro del mundo, celebrada de selección de los tapices —o colgaduras de tejido octubre del año pasado a febrero de este año bordado— realizados por las principales artis- también en sus salas de temporales, y cuyo tas del asentamiento inuit de Baker Lake, en la primer sentido es dar voz a las respectivas co- provincia de Nunavut (Canadá), que el Museo ha munidades a través de su propio “relato” y de aprovechado la oportunidad de acoger por pri- los medios de expresión que ellas han elegido mera vez en nuestro país gracias al generoso para transmitirlo. Cumple así con la misión en- ofrecimiento de Judith Varney Burch, la pro- comendada por el plan Museos + sociales de motora de la itinerancia de esta colección por la Secretaría de Estado de Cultura, a la que Europa. Las telas están acompañadas en esta está entregado con convicción. Y así también escala por una muestra de las tallas y esculturas da otro paso en el proceso de renovación que —otra de las principales expresiones artísticas de ha de llevarle, a sus 141 años de edad, a ser un este pueblo— que forman parte de la colección museo útil y significativo para la gente de la del Museo Nacional de Antropología y que con- “aldea global” bien entrado el siglo XXI. tribuyen a dar una imagen más completa de su Y ahora… Cama-i Nunavut! ¡Bienvenidos a la universo material y espiritual dando volumen a tierra de los inuit! las figuras y motivos textiles. Son objetos que no suelen estar expuestos en la exposición per- manente. Este proyecto, por tanto, representa a su vez una ocasión excepcional para que los Miguel Ángel Recio Crespo conozcamos y nos sorprendamos por su capa- Director General de Bellas Artes cidad para captar el pulso de la vida en el Ártico. y Bienes Culturales y de Archivos y Bibliotecas Organizan Organized Museo Nacional de Antropología Museo Nacional de Antropología y Judith Varney Burch and Judith Varney Burch Colaboran Collaborate Cauri. Asociación de Amigos Cauri. Asociación de Amigos del Museo Nacional de Antropología, del Museo Nacional de Antropología, Embajada de Canadá en España y Canadian Embassy in Spain Fundación Canadá and Fundación Canadá Dirección y coordinación del proyecto Project management and coordination Patricia Alonso Pajuelo Patricia Alonso Pajuelo EXPOSICIÓN EXHIBITION Diseño gráfico Graphic design Lara Carolina Izquierdo Pereira Lara Carolina Izquierdo Pereira y Belén Soguero Mambrilla and Belén Soguero Mambrilla Transporte y montaje Transport and installation SIT SIT Comunicación Communication Belén Soguero Mambrilla Belén Soguero Mambrilla CATÁLOGO CATALOG Textos Texts Judith Varney Burch Judith Varney Burch Patricia Alonso Pajuelo and Patricia Alonso Pajuelo Fotografías Photographs Yukon Arts Centre Public Art Gallery Yukon Arts Centre Public Art Gallery y Museo Nacional de Antropología and Museo Nacional de Antropología Diseño gráfico Graphic design Vélera Vélera índice | index Los colores del Ártico: arte y cultura inuit | Arctic colors: Inuit art and culture 11 • Antecedentes históricos | Historical background 16 • De costurera a artista | From seamstress to artist 20 • Nuna: La tierra | Nuna: The land 24 • Angut y arnaq: Masculino y femenino | Angut and arnaq: Male and female 28 • Uumajuq: Los animales | Uumajuq: The animals 32 • Unikaatuat: Historias inuit | Unikaatuat: Inuit stories 36 • Ukpirniq: El mundo espiritual | Ukpirniq: The spiritual world 42 Las artistas | The artists 47 • Irene Avaalaaqiaq 48 • Victoria Mamnguqsualuk 50 • Elizabeth Angrnaqquaq 52 • Ruth Qaulluaryuk Nuilliak 54 • Naomi Ityi 56 • Miriam Qiyuk 58 • Janet Nungnik 60 • Hannah Oklaga 62 • Annie Anowtalik 64 • Elizabeth Quinanagnaq Angrnagangrniq 66 • Tobi Pameok Tookoome 68 • May Haqpi 70 • Fanny Avatituq 72 • Mary Kuutsiq Mariq 74 • Eva Qirniq Noah 76 los colores del Ártico arte y cultura inuit Arctic colors Inuit art and culture · 11 Los colores del Ártico: arte y cultura inuit Los inuit son conocidos popularmente como esquimales, esta pa- labra tiene un fuerte carácter peyorativo, ya que su traducción es “comedor de carne cruda”, inuit significa “personas”. El arte contemporáneo inuit surge en la década de los cincuenta del si- glo XX, en un momento de profundos cambios para los inuit en Canadá, que se ven obligados a abandonar su tradicional modo de vida nómada para residir en asentamientos permanentes. La caza, su principal medio de subsistencia, es reemplazada por la asisten- cia social y algo de trabajo asalariado. Desde ese momento el arte se va a convertir en una de sus principales fuentes de recursos económicos. El arte ha supuesto una forma de resistir los profundos cambios que amenazan la cultura inuit, de reafirmar su identidad cultural y de representar y mantener viva su cultura. Mediante la escultura, el arte gráfico y textil se transmiten la historia, los conocimientos y valores ancestrales a las futuras generaciones. La exposición presenta la colección de arte textil de Judith Varney Burch, con obras realizadas por mujeres de la comunidad de Baker Lake (Nunavut, Canadá). Usando vibrantes colores y dise- ños, los textiles transmiten historias, creencias y tradiciones inuit. Estas obras de arte textil se complementan con las colecciones inuit del Museo Nacional de Antropología. 12 · Arctic colors: Inuit art and culture Inuit are popularly known as Eskimos, this word is strongly pejorative, as its translation is “eaters of raw meat”, Inuit means “people”. Inuit contemporary art emerges in 1950s, at a time of profound changes for Canadian Inuit, they were forced to abandon their traditional nomadic way of life to live in permanent settlements. Hunting, their main livelihood, was replaced by social assistance and some wage labor. Since then, art became one of its main economic resources. Art has been a way to resist the profound changes that threaten Inuit culture, to reaffirm their cultural identity and to represent and keep their culture alive. Through sculpture, graphic and textile art are transmitted ancestral knowledge and values to future generations. The exhibition presents Judith Varney Burch’s collection of textile art, with works by women from Baker Lake (Nunavut, Canada). Using vibrant colors and patterns, the tapestries convey Inuit stories, beliefs, and traditions. These works of textile art are complemented with Museo Nacional de Antropología’s Inuit collections. · 13 Transformaciones de espíritus. Irene Avaalaaqiaq. Baker Lake (Nunavut, Canadá). Muletón, fieltro, hilo de algodón. Spirit Transformations. Irene Avaalaaqiaq. Baker Lake (Nunavut, Canada). Wool duffle, felt, cotton thread. 14 · · 15 Antecedentes históricos Durante más de mil años, los inuit han vivido en lo que ahora es la re- gión norte de Canadá. Hasta principios del siglo XX su modo de vida fue poco perturbado y sus contactos con el sur de Canadá estaban limitados a comercio ocasional y algunas expediciones de misioneros. Los inuit experimentaron un gran trastorno y convulsión cultural a mediados del siglo XX, por una combinación de factores naturales y el inevitable avance del mundo occidental. Severas fluctuaciones en sus fuentes tradicionales de caza y pesca llevaron a que su modo de vida nómada casi colapsara y muchos grupos sufrieron privacio- nes y periodos de hambre. Además, la caída del precio de la piel en los mercados de todo el mundo acabó con una de las principales fuentes de ingresos para los inuit. El gobierno canadiense intervino y fomentó la creación de asentamientos permanentes en la región ártica en torno a puestos comerciales, iglesias misioneras y puestos de policía. En la década de los sesenta casi todos los inuit vivían en estas comunidades, que también incluían escuelas, instalaciones mé- dicas y tiendas. Sin embargo, como parte de una economía occidental, los inuit se encontraron en una situación en la que ninguna de sus tradicionales habilidades para la supervivencia tenía uso. Las oportunidades de trabajo eran muy limitadas, pocos inuit enten- dían el inglés o el francés, y se convirtieron en dependientes de la asistencia social.
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