Ilulissat Art Museum: Art that challenges, changes and charms

By Signe Hansen

Full of thought-provoking exhibits, the Ilulissat Art Museum is Greenland’s most visited art institution. The museum offers more than just indoor displays; it extends its artistic expression into the breathtaking surroundings of the Ilulissat Icefjord. Notably, many of its outdoor installations and interventions have garnered international attention.

Last summer, several international TV channels showed a floating sign reading “Please do not care” in front of the cruise ships and icebergs of the famous Ilulissat icefjord. This art intervention by the Dutch-Belgish artist duo Schscht was created in collaboration with the Ilulissat Art Museum and hinted at the half-hearted approach often seen in discussions about humans’ effect on climate change.

“Art is always a political statement, no matter if we look at works by Danish painters that romanticised Greenland, depicting it from a European perspective or Greenlandic contemporary artists that are dedicated to a decolonising approach,” stresses museum director Andreas Hoffmann. “Art is about dialogue, and dialogue is crucial in times when the word democracy has become a very stretched term.”

Ilulissat Art Museum: Art that challenges, changes and charms

The House of Snow, created by architect Virginia San Fratello. Photo: Virginia San Fratello and Ilulissat Art Museum

Originally based on a former private art collection, the museum has continuously expanded its collection with works by young Greenlandic artists, who put the colonial period paintings in a critical context. The contrast between past and present is also reflected in the museum’s building, designed by Danish architect Helge Bøysen-Møller. Originally built in 1923, it served as an imposing residence for the colony manager. One of them was Hans Jacobi, who lived here from 1950-60, and was known as a gifted illustrator. In 1995, the municipality transformed it into the Ilulissat Art Museum.

“The architecture and former purpose of our museum’s building obligate us to be a platform for interaction with the local community,” says Hoffmann. “Projects like Ciclotrama by Janaina Mello-Landini (Brazil), which involved local fishermen, enable us to connect with people of all ages, including those who might not typically visit art museums.”

Another striking example of the museum’s broad reach is The House of Snow, created by architect Virginia San Fratello (US) last winter. This project explored snow’s ability to stick to surfaces under the influence of wind and humidity. The work changed daily, becoming a highly popular and photogenic landmark in Ilulissat. The global relevance of the museum is further revealed by its contribution to international art publications; last year, it contributed to four.

Ilulissat Art Museum also organises art workshops, guided tours and artist talks.