{"id":45749,"date":"2026-06-19T10:50:19","date_gmt":"2026-06-19T08:50:19","guid":{"rendered":"https:\/\/www.fkv.de\/?p=45749"},"modified":"2026-06-19T10:50:19","modified_gmt":"2026-06-19T08:50:19","slug":"julie-edel-hardenberg-paneraaq","status":"publish","type":"post","link":"https:\/\/www.fkv.de\/en\/julie-edel-hardenberg-paneraaq\/","title":{"rendered":"Julie Edel Hardenberg (Paneraaq)"},"content":{"rendered":"

Project Ikioqatigiilluta (language project)<\/em>, 2008
\n6 prints on rigid foam board, 28,5 cm x 28,5 cm each
\n10 foil prints on acrylic glass, 40 x 40 cm each<\/p>\n

Nuan` (great)<\/em>, 2011
\nPrint on rigid foam board, framed
\n180 x 180 cm<\/p>\n

Unmask, #10<\/em>, 2017
\nUnmask, #6<\/em>, 2017
\nUnmask, #1<\/em>, 2017
\n3 prints on rigid foam board
\n119,7 x 100 cm each<\/p>\n

Nipangersitassaanngitsut (Those who can\u2019t be silenced)<\/em>, 2017
\nFabric, human hair
\n227 x 300 cm<\/p>\n

Meant to meet<\/em>, 2024
\nFabric, human hair
\n100 x 140 cm each<\/p>\n

Whitewashed – heritage<\/em>, 2021
\nWood, human hair
\n3,5 x 70 cm each<\/p>\n

Made in, #1<\/em>, 1995
\n12 prints on paper, framed
\n30,5 x 40,5 cm each<\/p>\n

Courtesy Julie Edel Hardenberg<\/p>\n

\u00a0<\/em><\/strong><\/p>\n

\u201cMy mother was born under the Danish flag \u2013 Dannebrog, while Greenland was a colony.
\nI was born under the Danish flag \u2013 Dannebrog, while Greenland was a Danish county.
\nMy children were born under the Greenlandic flag \u2013 Erfalasorput, while we had Greenland Home Rule Government.
\nThree generations. Three paradigms.\u201d \u2013 Julie Edel Hardenberg<\/em><\/p>\n

 <\/p>\n

Julie Edel Hardenberg, called Paneraaq in Kalaallisut, was born in Nuuk in 1971. Her work engages with the history, Inuit cultures, and colonial experience of Greenland. Language plays a central role in this: Julie Hardenberg speaks Inuit Kalaallisut, Danish, Norwegian, English, and Swedish. This multilingualism enables the artist to understand diverse identities, as demonstrated in her early photographic work Made in, #1 (1995). In it, the artist portrays herself twelve times from the front in a passport photo format, altering her clothing and hairstyle. As a result, the viewer reads the same body through twelve entirely different cultural affiliations.<\/p>\n

Hardenberg explores language as an expression of dominance and state power in the relationship between Greenland and Denmark. For her project Ikioqatigiilluta, Hardenberg places herself in everyday situations where she speaks exclusively in Kalaallisut and logs people’s reactions. Although Kalaallisut has been declared the sole official language in Greenland since 2009, Danish still prevails. The history of the Danish language in Greenland is inextricably linked to Danish colonial policy, the assimilation of the indigenous Inuit population, and the subsequent pursuit of cultural independence.<\/p>\n

Denmark regularly occupies top positions in international rankings regarding quality of life, happiness, and friendliness. What remains unsaid is the colonial past and its impact on the people of Greenland. Consequently, this violent colonial history is downplayed, and Denmark is described as a “nice coloniser.” Hardenberg addresses and humorously condenses this fact in her work Unmask (2017). In this series, a traditional Inuit mask takes center stage on the poster. The mask always has its mouth bandaged. Hardenberg adds handwritten comments or calls to action in Kalaallisut\u2014such as \u201cTamatta\u201d (all together) or \u201cEqqartortigu\u201d (let’s talk about it)\u2014to individual political terms like \u201cdemocracy\u201d or \u201cinternal coloniser.\u201d<\/p>\n

In the work Those who can\u2019t be silenced – Nipangersitassaanngitsut<\/em>, Julie Hardenberg sews black hair around the outlines of the white cross of the Danish flag. In postcolonial politics, black hair is a fiercely contested bodily feature. It reflects the struggle against the historical enforcement of Eurocentric beauty standards\u2014a symbol bound up with power, identity, and resistance.<\/p>\n

In Meant to meet from 2024, the binary division between black and white is at the heart of Hardenberg’s work. Black hair stands out against a white textile, and conversely, blonde hair against a black one. The stark divisions into colour zones symbolize political policies of exclusion and demarcation.<\/em><\/p>\n

The 2021 work Whitewashed \u2013 heritage consists of two dish brushes lying side by side, one with black hair and one with blonde hair. Each brush contains a lock of the other hair color: black for Inuit and blond for Danish hair. Brushes are everyday objects used for cleaning. The cultural practice of whitewashing stems from a Western perspective and pressures non-white people to assimilate and to \u201ccleanse\u201d and alter their physical characteristics. By using the word Heritage, Hardenberg acknowledges the fact that people adapt culturally over time and adopt characteristics of other cultures. Sharp divisions and categories are not natural realities but human-made, ideological constructs.<\/p>\n

Alongside her artistic work, Julie Hardenberg is a doctoral candidate and researcher at the University of Copenhagen and the Royal Danish Academy of Fine Arts. In addition to her academic texts, she writes literary works for children, which focus on narratives that strengthen cultural awareness and are written in the Kalaallisut language.<\/p>\n

 <\/p>\n

Julie Edel Hardenberg<\/strong> (*1971 Nuuk, GL), also known as Paneeraq, is an Inuk-Kalaaleq artist and researcher. She lives and works between Copenhagen (DK) and Nuuk (GL), and her artistic practice spans visual art, multimedia, and practice-based research. She is a PhD candidate at the Royal Danish Academy of Fine Arts, where she also completed her MA in Art Theory and Communication. She also studied art in Finland, Norway, and England. Hardenberg has published five books; her work has been exhibited internationally and has received several awards and nominations, including for the Nordic Council Literature Prize, the Carnegie Art Award, and the Anna Norlander Prize. In 2022, her contribution to the project Voices in the Shadows of Monuments was awarded a prize by the Danish Arts Council. Her works are held in the collections of Carlsberg Fonden (DK), the World Museum (NL), Statens Kunstfond (DK), Christiansborg (DK), Museet for Fotokunst (DK), Dansk-Gr\u00f8nlandsk Kulturfond (DK), the Greenland National Museum (GL), the Nordic Investment Bank (FI), and Mus\u00e9e de l\u2019\u00c9lys\u00e9e (CH).<\/p>\n","protected":false},"excerpt":{"rendered":"

Project Ikioqatigiilluta (language project), 2008 6 prints on rigid foam board, 28,5 cm x 28,5 cm each 10 foil prints on acrylic glass, 40 x 40 cm each Nuan` (great), 2011 Print on rigid foam board, framed 180 x 180 cm Unmask, #10, 2017 Unmask, #6, 2017 Unmask, #1, 2017 3 prints on rigid foam …<\/a><\/p>\n","protected":false},"author":1,"featured_media":45729,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"mc4wp_mailchimp_campaign":[],"footnotes":""},"categories":[1],"tags":[],"class_list":["post-45749","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-senza-categoria"],"acf":[],"_links":{"self":[{"href":"https:\/\/www.fkv.de\/en\/wp-json\/wp\/v2\/posts\/45749","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.fkv.de\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.fkv.de\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.fkv.de\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.fkv.de\/en\/wp-json\/wp\/v2\/comments?post=45749"}],"version-history":[{"count":4,"href":"https:\/\/www.fkv.de\/en\/wp-json\/wp\/v2\/posts\/45749\/revisions"}],"predecessor-version":[{"id":45880,"href":"https:\/\/www.fkv.de\/en\/wp-json\/wp\/v2\/posts\/45749\/revisions\/45880"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.fkv.de\/en\/wp-json\/wp\/v2\/media\/45729"}],"wp:attachment":[{"href":"https:\/\/www.fkv.de\/en\/wp-json\/wp\/v2\/media?parent=45749"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.fkv.de\/en\/wp-json\/wp\/v2\/categories?post=45749"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.fkv.de\/en\/wp-json\/wp\/v2\/tags?post=45749"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}