Agassiz (All) Over by Sasha Huber

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Agassiz (All) Over by Sasha Huber

From January 10, 2020 to March 01, 2020


Posted by Galleri Image

Agassiz (All) Over by Sasha Huber

From 16-18 on 10 January 2020, Galleri Image will host the opening of visual artist Sasha Huber’s first solo exhibition in Denmark. The artist will be present and Esa Alanne from the Finnish Cultural Institute in Denmark will present the opening of the exhibition. 
On 11 January at 14, Galleri Image will host 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), focusing on her work in New Zealand and Switzerland. The project’s goal is to challenge the ongoing celebration of Swiss-born naturalist and glaciologist Louis Agassiz – an influential racist and pioneering thinker of apartheid. 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. 
Alongside the Karakia video, AGASSIZ (ALL) OVER features a series of posters with the title Agassiz Down Under, which juxtapose archival photographs of a statue of Agassiz that has fallen on its head with the mission of “Demounting Louis Agassiz” campaign and facts about institutionalized racism. The exhibition will also display the ambrotype series Evidence, and the fictional lecture My racism is a humanism written by Agassiz scholar and "Demounting Louis Agassiz" committee member Hans Barth, and performed by the actor Thomas Götz, in which Agassiz attempts to vindicate himself and his theories.

Sasha Huber has worked with the “Demounting Louis Agassiz” campaign since 2008, and has continued the project in several other countries such as Brazil, Scotland, USA and Canada, where she has used her voice and body to mediate the ways in which the historic narrative was lacking. 

About the Artist:
Sasha Huber 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. 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