Inuuteq Storch, a prominent Kalaaleq artist, employs photography as a powerful medium to redefine the historical context of his native Greenland. Growing up in Sisimiut, a town north of the Arctic Circle, Storch recognized that much of Greenland's visual history was shaped by foreign perspectives, often stemming from colonial historians and adventurers. Despite gaining autonomy in 1979 after centuries of Danish colonization, Greenland continues to grapple with external influences, including recent geopolitical pressures. Over the past decade, Storch has diligently documented the ephemeral moments of everyday life across Greenland, skillfully weaving together Inuit customs, the enduring legacy of Danish rule, and the pressing environmental challenges facing the region. His photographs possess a raw, intimate quality, vacillating between precise details of domestic scenes and the expansive, yet understated, presence of the Arctic environment. He masterfully uses vibrant colors to imbue ordinary moments with profound intensity.
Storch's artistic journey reached a significant milestone in 2024 when he became the first Greenlandic artist to represent Denmark at the Venice Biennale, where he integrated his contemporary photographs with historical archives. His inaugural solo exhibition in the United States, "Soon Will Summer Be Over," curated by Jody Graf at MoMA PS1 in New York, presents three distinct bodies of work created over the last decade. The exhibition also features a two-screen video installation showcasing rare mid-twentieth-century footage captured by Greenlanders, all set against gallery walls painted in evocative shades of navy and olive green. In a December interview, Storch reflected on his return to Greenland after his photography studies in New York, his engagement with historical archives, and his philosophical view of time as "a beautiful, complicated thing."
Storch’s artistic vision extends beyond mere documentation; it is a profound exploration of identity and belonging. His decision to return to Greenland after his studies stemmed from a belief that his work would hold greater significance in his homeland, contributing to a nascent photographic culture. His process is organic and intuitive, often involving interactions with his subjects, ranging from casual street encounters to more deliberate portrait sessions. He thoughtfully selects his cameras based on the desired outcome, utilizing 35mm for spontaneous, close-up shots and 60mm for more contemplative, planned compositions. Storch draws inspiration from Greenlandic music and history, acknowledging the overlooked contributions of figures like shamans in the Inuit culture. Furthermore, he incorporates historical archives, such as the works of John Møller, the first Greenlandic photographer, into his exhibitions. This integration of past and present allows him to challenge conventional historical narratives and offer an authentic, Inuit-centric perspective. Storch’s photographs, while often showcasing the vast and majestic Greenlandic landscape, consciously downplay its dominance, striving to highlight the human experience within it. His work subtly addresses the political dimensions of Greenland’s history and ongoing struggles, asserting that his presence and perspective inherently imbue his art with political weight. The exhibition at MoMA PS1 is a testament to his ability to capture the universal in the everyday, evoking a sense of familiarity and connection with viewers from diverse backgrounds, reinforcing the idea that shared human experiences transcend geographical and cultural boundaries.