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  • From January 10, 2020 to March 01, 2020
    Opening:
    At: 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
  • From March 06, 2020 to April 26, 2020
    Opening:
    At: Galleri Image Vestergade 29, 8000 Aarhus, Danmark
    Categories: ENGELSK SEKTION KOMMENDE ARRANGEMENTER
  • From May 01, 2020 to June 28, 2020
    Opening:
    At: Galleri Image Vestergade 29, 8000 Aarhus, Danmark
    This May, Galleri Image has invited renowned Chinese artist Wang Ningde to Aarhus, in connection with his exhibition No Name, which opens 16-18 on 1 May 2020. The exhibition is part of CuluturalChina in Aarhus, which celebrates the 70th anniversary o
    f the diplomatic relationship between Denmark and China and is organised by Galleri Image in collaboration with Aarhus University, The Women's Museum, Øst for Paradis, LiteratureXchange and Folkeuniversitetet, Aarhus. The festival will, among other things, include a symposium on 2 May, a talk and tour about the exhibition at Galleri Image on 28 May, two talks with Chinese authors during the LiteratureXchange festival, an exhibition with Chinese posters at The Women's Museum and a film showing at Øst for Paradis - Art Cinema in November.       About the exhibition:Since 2015, the Chinese artist Wang Ningde has visited different cities in China and photographically collected thousands of paint smears in urban spaces, organizing them into formal categories, and then using them to cover over photographs found on the Internet. Wang Ningde photographs the paint smears and through digital photo editing reutilizes them in composite photographic pieces that resemble something more akin to paintings — where the original subjects are slowly but surely hidden away. Distinctive markings can frequently be seen on the walls of public spaces in many Chinese cities. These markings are the result of paint that has been applied to cover over informal advertisements. The content of these small advertisements ranges from plumbing and locksmith services ads, to selling fake medicine, drugs, or even want ads for sex partners. Due to the rapid proliferation of such illicit postings, city management must hire staff to deal with them. The resulting paint smudges, sometimes blending in with the background wall, sometimes wildly prominent and gestural, become an efficient and cautionary way to cover them up. A record of confrontation and contradiction between two groups, these paint marks make visible the invisible operation of power.      No Name originates from small instances of contradiction, and points to unnamed mark makers, nameless scenes, unnamed individual participants of group events. Here, the artist uses photographs to cover over images, obtaining a painterly effect, humorously referring to the complex and oft-entangled relationship between photography and painting throughout the history of art.About the Artist: Wang Ningde (b. 1972) graduated from the Photography Department at Luxun Academy of Fine Arts in 1995 and now lives and works in Beijing. Working mainly with photography and installation, Wang is one of the leading artist photographers in contemporary China. Using multiple forms to expand the boundaries of the language of image art, his work foremost explores questions about the language and nature of the photographic image. At the same time, his work manifests a keen subjective sensibility in response to contemporary issues.The exhibition is supported by the Danish Arts Foundation, the S.C. Van Foundation, the Augustinus Foundation, The Aarhus Stiftstidende Foundation and the City of Aarhus (Kulturudviklingspuljen)
    Categories: ENGELSK SEKTION KOMMENDE ARRANGEMENTER
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