and re-imagined narrative spaces, where contemporary struggles, alternate timelines and the artist’s own family history are blended together through a mixture of photography, installation and animation. While Kganye’s background is in photography and her work continues to revolve around it, the works in the exhibition do not consist of traditional photography, although they all make use of its materiality, presenting archival images in animated videos or original photography printed out and staged in a series of diorama installations.In the series Keep the Light Faithfully, Lebohang Kganye re-imagines western literary depictions of the rarely known and gendered narratives of hundreds of women light keepers from the nineteenth and twentieth century. While there is no historical evidence of female lighthouse keepers in South Africa, Kganye weaves the female lightkeepers in literary history into the works. Each work is based on conversations with seven lightkeepers, both former and in-service, living in some of the most isolated parts of South Africa along the Western, Northern and Eastern Cape coastlines. Lebohang Kganye translates these oral histories into small, contained worlds by staging inkjet print cut-outs, displaying them as small “scenes” made up of small movable pieces that can be shifted, allowing space for the viewer to imagine what lies beyond what is depicted. In addition to Keep the Light Faithfully, the exhibition also includes two animated films, Shadows of Re-Memory and Ke Sale Teng.In Ke Sale Teng, Kganye makes use of archival images from her own family’s photo albums, exploring how such albums can be used to construct a partially fictitious representation of a family history through what is omitted from the narrative.  In Shadows of Re-Memory, Kganye once again stages a narrative based in fact, presenting imagined animated scenes based on the oral histories of a collection of residents from in the village of Nieu Bethesda in the Karoo, Eastern Cape. The result is an exhibition that in combining fantasy, oral histories and documented events, challenges accepted narratives of history, whether they are presented to us through literature, history books or our own family albums.Lebohang Kganye (b. 1990) is a South African artist born and based in Johannesburg. She was educated at the Market Photo Workshop and the University of Johannesburg and is currently getting an MFA at Witwatersrand University. Kganye represented South Africa at the 2022 Venice Biennial and her work has been exhibited widely in the United States, Africa and Europe. Although primarily a photographer, her interest in the materiality of photography is ongoing and explored in myriad ways, through her use of the sculptural, performative, theatrical and the moving image. Her exhibition Haufi nyana? I’ve come to take you home is currently on display at the Foam Museum in Amsterdam, and she is the 16th winner of their prestigious Foam Paul Huf Award. https://www.lebohangkganye.co.za/SeminarIn conjunction with the exhibition, Galleri Image will present a seminar with the artist Lebohang Kganye, the renowned South African curator John Fleetwood and the Danish artist Ditte Haarløv Johnsen. Further details about the event can be found here. The exhibition is supported by the Danish Arts Foundation, the Augustinus Foundation, the Louis Hansen Foundation and the Obel Family Foundation.Photo credit: Lighthouse burials, 2022. Lebohang Kganye

urated by the renowned art historian Adam Mazur. Each artist is engaged with an intense search for coherence between an individual world view concerned with sexuality, friendship, and relationships in a new reality of violent developments, and radical changes in their national and political reality. The artists in the exhibition are Czech-Latvian Ivars Gravlejs (b. 1979), Latvian Diana Tamane (b. 1986), Lithuanian Ieva Baltaduonyte (b. 1979), Polish Aga Sejud (b. 1991) and Karolina Wojtas (b. 1996), Hungarian Eva Szombat, Ukranian artists Sasha Kurmaz (b. 1986) Sergey Melnitchenko (b. 1991) and Katya Berlova (b. 1986), and the Ukranian artist duo Synchrodogs.The curator Adam Mazur is an art historian, art critic, curator and current adjunct at the University of Art in Poznań, Poland. He’s an expert in Eastern European contemporary art and photography, and is the founder of the art magazine BLOK, which he was the chief editor of until 2021.The exhibition is supported by The Augustinus Foundation, the Obel Family Foundation, the Danish Arts Foundation, the Louis-Hansen Foundation, Grocer L. F. Foghts Foundation, the Aarhus Stiftstidende Foundation and the city of Aarhus (kulturudviklingspuljen).Photo credit: Sasha Kurmaz, WASTED YOUTH 1

ble powder from the marble industry as well as the ruinous surfaces of Rome. These are combined with videos filmed in Rome and installed in an installation that allows for an interaction between material and photograph. Erik Viklund (b. 1982) is a Swedish photographer based in Stockholm, with a BFA from Valand in Göteborg and an MFA from Konstfack in Stockholm. Viklund has been exhibted at Röda Stens Konsthall, Göteborg, and Copenhagen Photo Festival. In 2019 he won the Portrait Now! competition from National Historisk Museum in Fredensborg, where the winning piece was shown. Viklund works in the intersection between video, photography and installation as well as with portrait photography specifically. Photo credit: Installation image, ”Eftervärld”, 2021

Aarhus Art Museun, Aarhus School of Architecture, and HEART – Herning Museum of Contemporary Art will once again house a wide variety of curious, creative, and thought-provoking exhibitions, talks and workshops.  Photobook Week 2023 will celebrate a positive outlook, taking a solution-oriented approach to the issues the art world as well as the world at large are faced with, with the overall theme Future Revisited. We will pay homage to Albert Renger Patzsch’s book “Die Welt ist schön” (The World is Beautiful), published 95 years before, and propose a new wave of optimism. This search for the joy of our existence will include a look into the future, and other things that make us happy. Side-themes will include Photonovels, Collages and Children’s Books, while and on the geographical axis we will look at Estonia and the Middle East. This year, the festival will also have a special focus on Artificial Intelligence as an image-making technique and a tool for creating new narratives.  The 10th anniversary of Photobook Week Aarhus will be duly celebrated with a book that explores some of the most important moments in the history of the medium, and our small contribution to it.  After many years with opening events placed on Thursday, this year, we’ve added a full day extra to our festival in order to make space for all the exciting events and exhibitions we have in store. As always, the festival will close with the yearly Sunday photobook market, where you will have the opportunity to buy photobooks from all over the world, both from second-hand dealers and from the publishers and artists themselves.  The festival is a collaboration between Galleri Image and the Aarhus School of Architecture.Visit photobookweek.org to learn more about former editions of the festival and catch the latest updates about Photobook Week Aarhus 2023Photoobook Week 2023 is supported by the city of Aarhus (Kulturudviklingspuljen), the Dreyer Foundation, Instituto Camões and the Embassy of Portugal and the Politiken Foundation.