Events

  • Fra May 01, 2020 til June 28, 2020
    Fernisering:
    Sted: Galleri Image Vestergade 29, 8000 Aarhus, Danmark
      Galleri Image presents No Name by Chinese artist Wang Ningde. The exhibition opens on 1 May 2020 at 4-6 pm.   Wang Ningde is one of the speakers at the Symposium on Contemporary Chinese Art and Artists: Possibilities, Concerns and Constr
    aints organised by Galleri Image and China Studies at Aarhus University. The symposium takes place at Kunsthal Aarhus on 2 May 2020 at 10.30 am - 3 pm.   About the exhibition: The exhibition No Name at Galleri Image revolves around photographic pieces by Chinese artist Wang Ningde, which explore power dynamics between authority and public space. Like much of Wang Ningde’s work, the pieces manifest a keen sensibility in response to contemporary issues. The artworks in the exhibition No Name are constructed with photographed paint smudges. Since 2015, Wang Ningde has visited different cities in China, photographically collecting thousands of paint smudges on public walls. The photographs depicted places where the city administration had painted over unauthorized advertisements in an attempt to conceal them. The paint smudges often stand out, as the aesthetics are not in general a priority for the city administrations. Some makes an effort to match the wall, although in the end the paint is still quite noticeable and marks the tensions between the different participants in urban space.   Wang Ningde reutilises the photographed paint smudges to create new images of expressive portraits and art historical moments. In a digital editing process, he constructs with his own photographs’ new motifs on top of pictures of protesters or social events. His final step in the digital editing process is to remove the background picture completely, leaving only the vivid brushstrokes of the paint smears. Wang’s artwork then also addresses the complex entangled relation between photography and painting.   The title of the exhibition No Name refers to the nameless participants in public space, such as the unnamed citizens and nameless urban spaces. The paint smudges begin as cover ups on the urban, social facade, then transformed by Wang Ningde to emphasise the emotional and cultural tensions in public. About the artist:  Wang Ningde (b. 1972) graduated from the Photography Department at Luxun Academy of Fine Arts in 1995. He lives and works in Beijing. Wang is one of the leading contemporary visual artists in China. He is working mainly with photography and installation, using multiple forms to expand the boundaries of visual art. His artworks have been exhibited globally at galleries and art museums in USA, Australia, Asia and Europe. Wang Ningde has received numerous awards, and his artworks are included in several collections, such as the CAFA Art Museum in Beijing and The White Rabbit Collection in Sydney. For more information visit: http://wangningde.com/ The exhibition is supported by the Danish Arts Foundation, the S.C. Van Foundation, the Augustinus Foundation, The Aarhus Stiftstidende Foundation, Grosserer L.F. Foghts Foundation and the City of Aarhus (Kulturudviklingspuljen)   CulturalChina 2020: The exhibition No Name at Galleri Image is part of the festival CuluturalChina 2020 – a celebration of the 70th anniversary of the diplomatic relationship between Denmark and China. This festival is organised by Galleri Image in collaboration with China Studies at Aarhus University, Aarhus Theater, The Women's Museum in Denmark, Øst for Paradis - Art Cinema, Folkeuniversitetet, Aarhus, and Aarhus Literature Center in collaboration with LiteratureXchange.  The festival will among other things include a talk and tour about the No Name exhibition at Galleri Image on 28 May, talks with Chinese authors during the LiteratureXchange festival, an exhibition with Chinese posters at The Women's Museum and a documentary film screening at Øst for Paradis in November. Furthermore, Aarhus Theatre will stage the play Made in China 30 April - 16 May 2020. The play is a docufiction about the destruction of the European self-perception as supreme, in a time where the global power balance has tilted towards the East. On 2 May, 10.30 – 3 pm. Galleri Image and The China Studies, Aarhus University will present the symposium Contemporary Chinese Art and Artist: Concerns, Possibilities and Constraints. The symposium features the following guest speakers: Wang Ningde (artist), Duan Yuting (Director of Museum of Photography in Lianzhou), Sasha Su-Ling Welland (Associate Professor University of Washington).
    Categories: ENGELSK SEKTION KOMMENDE ARRANGEMENTER
  • Fra May 01, 2020 til June 28, 2020
    Fernisering:
    Sted: Galleri Image Vestergade 29, 8000 Aarhus, Danmark
    Galleri Image præsenterer udstillingen No Name af den kinesiske kunstner Wang Ningde. Udstillingen har fernisering d. 1. Maj 2020 kl. 16-18. Wang Ningde er en af oplægsholderne til Symposium on Contemporary Chinese Art and Artists: Possibilities, Con
    cerns and Constraints arrangeret af Galleri Image og Kinastudier ved Aarhus Universitet. Dette symposium afholdes i Kunsthal Aarhus d. 2. maj kl. 10.30-15.Om udstillingen:Udstillingen No Name på Galleri Image viser fotografiske værker af den kinesiske kunstner Wang Ningde, der undersøger magtdynamikker mellem autoriteter og det offentlige rum. I lighed med Wang Ningdes kunstneriske praksis, er værkerne manifestationer af en særlig sensibilitet i forhold til nutidige problematikker. Kunstværkerne i udstillingen No Name er skabt ud fra fotograferede overmalinger. Siden 2015, har Wang Ningde besøgt forskellige byer i Kina, og fotografisk indsamlet tusindvis af overmalinger på offentlige vægge. Fotografierne viser steder, hvor byforvaltningen har overmalet illegale reklamer i et forsøg på at tildække dem. Overmalingerne træder ofte frem, da æstetikken ikke er en prioritet for byforvaltningen. Nogle forsøger at matche vægfarven, men malingen er stadig meget synlig, hvorved den bliver tydelige markører på spændingerne mellem forskellige aktører i byrummet. Wang Ningde genbruger de fotograferede overmalinger til at skabe nye værker med udtryksfulde portrætter og kunsthistoriske momenter. I en digital redigeringsproces, konstruerer han med sine fotografier nye motiver ovenpå billeder af protestanter og sociale begivenheder. Afslutningsvis i denne proces fjerner han baggrundsbilledet fuldstændigt, og tilbage er udelukkende de livlige penselstrøg fra overmalingerne. Wangs kunstværker adresserer derved også det komplekse og kontinuerlige forhold mellem fotografi og maleri. Titlen No Name refererer til de navnløse aktører i det offentlige byrum, såsom ikke-navngivende borgere og navnløse urbane steder. Overmalingerne begynder som tildækninger på de urbane, sociale facader, der transformeres af Wang Ningde til i stedet at fremhæve følelsesmæssige og kulturelle spændinger i offentligheden. Om kunstneren: Wang Ningde (f. 1972) blev uddannet ved Luxun Academy of Fine Arts i 1995, og bor nu i Beijing. Wang er en af de førende samtidskunstnere i Kina. Han arbejder hovedsageligt med fotografi og installation, hvor han anvender forskellige kunstneriske praksisser til at udvide billedkunstens begrænsninger og muligheder. Hans kunstværker har flere gange været udstillet internationalt i gallerier og kunstmuseer, i bl.a. USA, Australien, Asien og Europa. Wang Ningde har modtaget adskillige priser, og hans kunstværker er inkluderet i flere samlinger såsom CAFA Kunstmuseum i Beijing og The White Rabbit Collection i Sydney. Læs mere information: http://wangningde.com/ Udstillingen er støttet af Statens Kunstfond, S. C. Van Fonden, Augustinus Fonden, Aarhus Stiftstidendes Fond, Grosserer L. F. Foghts Fond og Aarhus Kommune (Kulturudviklingspuljen). CulturalChina 2020:Udstillingen No Name på Galleri Image er en del af CulturalChina 2020, der fejrer 70året for det diplomatiske forhold mellem Danmark og Kina. Festivalen er arrangeret af Galleri Image i samarbejde med Kinastudier på Aarhus Universitet, Aarhus Teater, Kvindemuseet i Danmark, Øst for Paradis, Aarhus Litteraturcenter i samarbejde med LiteratureXchange og Folkeuniversitetet, Aarhus. Festivalen vil bl.a. indebære et oplæg og omvisning om udstillingen No Name på Galleri Image d. 28. maj, oplæg med kinesiske forfattere under LiteratureXchange festivalen, en udstilling med kinesiske plakater på Kvindemuseet og en dokumentarisk filmvisning i Øst for Paradis i november. Derudover viser Aarhus Teater forestillingen Made in China den 30. april-16.maj 2020. Forestillingen er en doku-fiktion om den europæiske kulturs krakelerende selvfortælling om overlegenhed i en tid, hvor den globale magtbalance er tiltet mod øst.Den 2. maj kl. 10.30-15 præsenterer Galleri Image og Kinastudier på Aarhus Universitet et symposium: Contemporary Chinese Art and Artist: Concerns, Possibilities and Constraints. Symposiet inkluderer følgende oplægsholdere: Wang Ningde (kunstner), Duan Yuting (Direktør for Fotografisk Museum i Lianzhou), Sasha Su-Ling Welland (Lektor ved Washington Universitet).
    Categories: DANSK SEKTION KOMMENDE ARRANGEMENTER
  • Fra March 06, 2020 til April 26, 2020
    Fernisering:
    Sted: Galleri Image Vestergade 29, 8000 Aarhus, Danmark
    Den 6. marts kl. 16-18 byder Galleri Image velkommen til fernisering på soloudstillingen Stages of Conception af den danske billedkunstner Myne Søe-Pedersen. Den 7. marts kl. 14 afholder Galleri Image en artist talk med Myne Søe-Pedersen om
    udstillingen. Stages of Conception viser helt nye værker af kunstneren og er Søe-Pedersens første udstilling på Galleri Image. Hendes tilgang til det fotografiske medie er kendetegnet ved at være en stadig udforskning af fotografiets grundlæggende natur, såvel som dets udvidede muligheder. I Stages of Conception sammenstiller hun grupperinger af værker i en undersøgelse af et betydningsladet sted, og de kollektive såvel som personlige forestillinger, der knytter sig hertil.Udgangspunktet er et nedlagt psykiatrihospital udenfor Nykøbing Sjælland, som var fungerende imellem 1915 og 2015. Hospitalet blev bygget efter nye og idealistiske standarder, det ligger naturskønt og har haft små tilhørende haver og værksteder, og det giver på mange måder et positivt indtryk, når man besøger det i dag. Samtidig rummer stedets historie mange forskellige skæbner og fortællinger om psykiatrien som institutionaliseret behandlingsform. I dag bruges bygningerne til andre formål, men de rummer også et lille lokalt drevet museum for det psykiatriske hospitals historie.Kunstnerens personlige forhold til stedet er knyttet til hendes søster, som i en periode både var tilknyttet hospitalet som patient og boede i et hus i nærheden af hospitalsgrunden og den tilstødende skov.De subjektive forestillinger om det psykiatriske hospital, og det, som det repræsenterer, bliver samtidig informeret af de kollektive forestillinger: Den psykiatriske kulturhistorie har indlejret stærke billeder i vores kollektive hukommelse, og det er i bevidstheden om dette, at hun i sin undersøgelse har været særligt interesseret i stedets lille museum. Museer kan i høj grad ses som steder, hvor vi iscenesætter vores fælles historie og forsøger at få den til at give mening.Undersøgelsen har dermed tre lag: det personlige, det specifikke og det kollektive. De tre lag informerer hinanden i en åben og processuel udforskning af begreber som forsvinding, hukommelse, forestillinger og virkelighed. Igennem gentagne besøg på hospitalet og det omliggende område, research i museets samlinger og arkiver, samt performative handlinger, har Søe-Pedersen ønsket at opnå en særlig tilstand af kropslig tilstedeværelse. Samtidig er denne insisterende tilgang et forsøg på at ophæve prædefineret logik i en kontekst, der er mættet af betydninger og fortællinger.Udstillingen består af fire separate, men også forbundne grupperinger af værker. Disse tager udgangspunkt i hospitalets teaterscene, flugtredskaber fra museets samling, et håndskrevet brev fra kunstnerens søster, og i den skov, som ligger i forbindelse med hospitalets grund.Om kunstneren:  Myne Søe-Pedersen er en dansk kunstner, født i 1972 og uddannet fra Gerrit Rietveld Academie i Amsterdam og Cooper Union School of Art i New York i 2001. Hun arbejder med fotografiet i en udvidet form og er inspireret af dets udvikling og proces, samt af, hvornår den fotografiske repræsentation bliver til en abstraktion. Værkerne indeholder ofte flere lag af informationer, som kan være meget konkrete, men som også kan skabe en abstraktion igennem gentagelse og eksperimenterende metoder. Et tilbagevendende tema i Søe-Pedersens praksis er undersøgelsen af spændingen imellem det rationelle og det irrationelle, samt mellem forestilling, opfattelse og virkelighed. Hun har tidligere udstillet både nationalt og internationalt i blandt andet Odense, København, Paris, Tyskland, Amsterdam og Ystad. Udstillingen er støttet af Statens Kunstfond & Kulturudviklingspuljen Aarhus Kommune.
    Categories: DANSK SEKTION KOMMENDE ARRANGEMENTER
  • Fra March 06, 2020 til April 26, 2020
    Fernisering:
    Sted: Galleri Image Vestergade 29, 8000 Aarhus, Danmark
    On 6 March between 4pm and 6pm, Galleri Image invites you to the opening of the solo exhibition Stages of Conception by Myne Søe-Pedersen. On 7 March at 2 pm, Galleri Image will host an artist talk with Myne Søe-Pedersen about the exhibition.&nb
    sp;Stages of Conception shows brand new work by the artist and is Søe-Pedersen's first exhibition at Galleri Image. Her approach to the photographic medium is characterized by an ongoing exploration of the basic nature of photography, as well as its expanded possibilities. In Stages of Conception she juxtaposes groupings of works in an investigation of a significant place, and the collective as well as personal notions associated with it. The site of investigation is a closed psychiatric hospital outside of Nykøbing Sjælland (in the northwest of Zealand, DK), which was in use between 1915 and 2015. The hospital was built to new and idealistic standards: Placed in idyllic surroundings and with gardens and workshops on the grounds, it makes a positive impression when you visit it today. At the same time, the place has been the site of a diversity of personal destinies, as well as histories of psychiatry as an institutionalized form of treatment. Today, the buildings are used for other purposes, but they also house a small locally run museum for the history of the psychiatric hospital. The artist's personal relationship with the place is connected to her sister, who for a period was a regular patient at the hospital, while she was also living in a house near the hospital grounds and the adjoining forest.The personal conceptions of the psychiatric hospital and what it represents are simultaneously informed by the collective conceptions: Psychiatric cultural history has embedded strong images in our collective memory, and it is in the awareness of this that Søe-Pedersen has been particularly interested in the small museum of the place. Museums can in many ways be seen as places where we stage our shared history in an attempt to make meaning of it.The study thus has three layers: the personal, the specific and the collective. The three layers inform each other in an open and process-oriented exploration of concepts such as disappearance, memory, conceptions, and reality. Through repeated visits to the hospital and the surrounding area, research in the museum's collections and archives, as well as performative actions, Søe-Pedersen has been striving to achieve a state of physical immersion. At the same time, this insistent approach is an attempt to get rid of predefined logic in a context that is saturated with meaning and narratives.The exhibition consists of four separate yet connected groupings of works. These are grounded in the hospital’s theatre stage, in escape tools from the museum's collection, in a handwritten letter from the artist's sister, and in the forest close to the hospital grounds.About the artist:Myne Søe-Pedersen is a Danish artist, born in 1972, graduated from the Gerrit Rietveld Academie in Amsterdam and Cooper Union School of Art in New York in 2001. She works with an expanded approach to photography and is inspired by its development and processes as well as the point as which the photographic representation becomes an abstraction. The artworks often contain multiple layers of information, which can be very concrete, but which can also create an abstraction through repetition and experimental method. A recurring theme in Søe-Pedersen’s artistic practice is explorations of the tension between the rational and the irrational as well as between staging, conception and reality. She has previously exhibited both nationally and internationally, such as Odense, Copenhagen, Paris, Germany, Amsterdam and Ystad. The exhibition is supported by The Danish Arts Foundation & The City of Aarhus (Kulturudviklingspuljen)
    Categories: ENGELSK SEKTION KOMMENDE ARRANGEMENTER
  • Fra January 10, 2020 til March 01, 2020
    Fernisering:
    Sted: Galleri Image Vestergade 29, 8000 Aarhus, Danmark
    From 16-18 on 10 January 2020, Galleri Image hosted the opening of visual artist Sasha Huber’s first solo exhibition in Denmark. The artist was present and a representative from the Finnish Cultural Institute in Denmark opened the exhibition. On 11 J
    anuary at 14, Galleri Image hosted an artist talk with Sasha Huber.AGASSIZ (ALL) OVER by Sasha Huber is an exhibition presenting a selection of her artistic contributions to the long-term project and activist campaign “Demounting Louis Agassiz” (which was founded by historian and activist Hans Fässler in 2007). The project’s goal has been to challenge the ongoing celebration of Swiss-born naturalist and glaciologist Louis Agassiz (1807-1873) – an influential racist and pioneering thinker of apartheid. The perception of him has since changed considerably due to the efforts of the campaign. The focal point of AGASSIZ (ALL) OVER is the video piece KARAKIA - the resetting ceremony, in which Sasha Huber, accompanied by greenstone carver Mr. Jeff Mahuika (Kāti Māhaki, Poutini Kāi Tahu), unnames an Aotearoa New Zealand glacier, which had previously been named after Louis Agassiz. This “unnaming” is reminiscent of one of the first actions of protest in the campaign, which revolved around the renaming of Agassizhorn, a mountain top in the Swiss alps, to Rentyhorn. The name-change was in honour of Renty, an enslaved man from Congo, who Agassiz commissioned the photographer Joseph T. Zealy to photograph in 1850, and the new name was emblematic of the silent and anonymous victims of racism. The exhibition also includes the fictional lecture My racism is a humanism written by Hans Barth, Agassiz scholar and "Demounting Louis Agassiz" committee member. The lecture is performed by the actor Thomas Götz as Agassiz, who attempts to vindicate himself and his theories. Alongside the two videos, AGASSIZ (ALL) OVER features three series, each of which dismantle Agassiz and his legacy in their own way: The Mixed Traces, Evidence and Agassiz Down Under. These works bear witness to the historical base, and to its continuing resonance within the landscape and within visual practices that survey and violate the colonised body. Sasha Huber has worked with the “Demounting Louis Agassiz” campaign since 2008 in several countries such as Switzerland, Brazil, Scotland, Aotearoa New Zealand, Canada and USA where she has used her voice and body to mediate the ways in which the historic narrative was lacking. About the artist:Sasha Huber (CH/FI) is a visual artist of Swiss-Haitian heritage, born in Zurich, Switzerland in 1975. She is currently based in Helsinki, Finland and holds an MA from the University of Art and Design in Helsinki (presently University of Arts). Huber's work is primarily concerned with the politics of memory and belonging, particularly in relation to colonial residue left in the environment. She is occupied with the underlying subtle threads that connect the past with the present and works with performance-based interventions, videos, photography, archival materials, collaborations and publications. Huber has had solo exhibitions at the Hasselblad Foundation Project Room in Gothenburg, and has participated in numerous international art festivals such as the 29th Biennial of São Paulo in 2010, the 19th Biennale of Sydney in 2014 and the 56th la Biennale di Venezia in 2015 (collateral exhibition: Frontier Reimagined). In 2018, Huber received the State Art Award in the category visual arts given by the Arts Promotion Centre, Finland. Presently, Huber is undertaking practice-based PhD studies at the Department of Art and Media at the Zurich University of the Arts. The exhibition is supported by The Danish Arts Foundation, the Swiss Arts Council Pro Helvetia and The Finnish Cultural Institute in Denmark. Image: Sasha Huber, KARAKIA The Resetting Ceremony, video 4:30 min, Still photo by Tom Hoyle, 2015  
    Categories: ENGELSK SEKTION KOMMENDE ARRANGEMENTER
  • Fra January 10, 2020 til March 01, 2020
    Fernisering:
    Sted: Galleri Image, Vestergade 29, 8000 Aarhus C.
    Fra 16-18 d. 10. januar havde Galleri Image fernisering på billedkunstneren Sasha Hubers første soloudstilling i Danmark. Kunstneren var tilstede, og udstillingen blev åbnet af en repræsentant fra Det Finske Kulturinstitut i Danmark. Kl 14 d. 11. jan
    uar afholdte Galleri Image en artist talk med Sasha Huber.  Udstillingen AGASSIZ (ALL) OVER præsenterer en række af Sasha Hubers kunstneriske bidrag til langtidsprojektet og aktivistkampagnen ”Demounting Louis Agassiz” (som blev påbegyndt af historikeren Hans Fässler i 2007). Projektets mål er at udfordre den igangværende fejring af schweiziskfødte naturforsker og glaciolog, Louis Agassiz (1807-1873) – en indflydelsesrig racist og pionerende tænker indenfor apartheid. Opfattelsen af ham har siden ændret sig betydeligt på grund af kampagnens indflydelse. Hovedværket i AGASSIZ (ALL) OVER er videoen KARAKIA – the resetting ceremony, hvori Sasha Huber, ledsaget af Jeff Mahuika (Kāti Māhaki, Poutini Kāi Tahu), udfører en navnefratagelse af en gletsjer i Aotearoa New Zealand, som tidligere har været navngivet efter Louis Agassiz. Denne “navnefratagelse,” minder om en af Hubers første protestaktioner i kampagnen, som havde til formål at omdøbe Agassizhorn, en bjergtop i de schweiziske alper, til Rentyhorn. Dette var en hyldest til Renty, en mandlig slave fra Congo, som Agassiz egen fotograf Joseph T. Zealy fotograferede i 1850. Det nye navn skulle symbolisere racismens tavse og anonyme ofre. Endvidere fremvises en video med den fiktive forelæsning My Racism is a Humanism, som er skrevet af Agassizforskeren Hans Barth, som også er et medlem af "Demounting Louis Agassiz" kommitteen. Forelæsningen er fremført af skuespilleren Thomas Götz som Agassiz, der forsøger at retfærdiggøre sig selv og sine teorier.Derudover indeholder udstillingen tre værkserier, som på hver deres måde konfronterer Agassiz og hans arv; The Mixed Traces, Evidence og Agassiz Down Under. Værkerne bærer vidne til den historiske baggrund, og til fortsættelsen af resonansen af landskabet og i den visuelle praksis der bedømmer og nedværdiger den koloniserede krop. Sasha Huber har arbejdet med “Demounting Louis Agassiz” projektet siden 2008, og har fortsat projektet i en række andre lande såsom Schweiz, Brasilien, Skotland, Aotearoa New Zealand, Canada og USA, hvor hun har brugt sin stemme og krop til at formidle historiens mangelfulde fortælling.  Om kunstneren:Sasha Huber (CH/FI) er en billedkunstner af schweizisk-haitisk herkomst, født i Zürich, Schweiz i 1975. Hun bor og arbejder i Helsinki, Finland, og har en kandidatgrad fra University of Art and Design i Helsinki (University of Arts). Huber er optaget af de underliggende, subtile tråde, der forbinder fortiden med nutiden, og arbejder med performancebaserede interventioner, video, fotografi, arkivmaterialer og publikationer. Omdrejningspunktet for hendes arbejde er erindringspolitik og tilhørsforhold, især i relation til kolonialismens efterladenskaber i vores omgivelser. Huber har haft soloudstillinger både ved Hasselblad Centeret i Göteborg og har også deltaget i flere internationale kunstfestivaler som f.eks. São Paulo Biennalen 2010, Sydneybiennalen i 2014 og Venedig Biennalen i 2015. I 2018 modtog Huber the State Art Award i kategorien billedkunst af the Arts Promotion Centre, Finland. Huber tager desuden i dag en praksisbaseret PhD ved Afdelingen for Kunst og Medier ved Zurich Kunstuniversitet. Udstillingen er støttet af Statens Kunstfond, det Schweiziske Kunstråd Pro Helvetia og Finlands Kulturinstitut i Danmark.Billede: Sasha Huber, KARAKIA - The Resetting Ceremony, video 4:30 min, Still af Tom Hoyle, 2015
    Categories: DANSK SEKTION KOMMENDE ARRANGEMENTER
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