he physical  space and ideas on linear time. In the animation the hippopotamus lies alone in its void, completely calm and peaceful in the water. But each time it opens its mouth to bare its large teeth, we are reminded that it is aggressive, lethally dangerous and wild. The hippopotamus represents something it is not -- in fact it is made of numbers in a computer. Codes create its life in an alternate world that continues endlessly. The animation is not just a video played in a loop, but is created by algorithms that produce random occurrences over time. This allows the artwork to continue endlessly in both time and space - until the software crashes or the hardware breaks. The site-specific installation acts as a connection between the physical space and the technical qualities of the computer animation. It consists of staircases that stretch from the now into the future, towards  alternate timelines. Together they make up an exploration of a reality in which time is fluent, endless and individual.  In conjunction with the exhibition, Galleri Image will organise the symposium Time and Technology Saturday March 6. The symposium will base its discussions on ideas on technological  developments, such as photography from around the turn of the 19th century. It will initiate discussions on how technological developments continue to affect the production and interpretation of images today. The symposium thereby examines the thoughts and ideas that lie behind the production and consumption of computer generated imagery; the temporal and spatial possibilities which occur within them; and the effect these possibilities have on the ways in which we experience time and space. About the Artist Rebecca Krasnik (b. 1987) is a Danish Visual Artist based in Copenhagen. She has an MFA in Photography, Video and Related Media from School of Visual Arts, New York City, USA. Krasnik's art has been exhibited in New York, London, Copenhagen, and more. Her exhibition at Galleri Image is her first solo show in Aarhus. Read more on the artist's website: www.rebeccakrasnik.info The exhibition is supported by the Danish Arts Foundation, the city of Aarhus (Kulturudviklingspuljen), The A.P. Møller Foundation, The William Demant Foundation and the Augustinus Foundation.

t the answer is elusive and shifting. Through the dual processes of examining gradations of color and gradations of emotion, Schorr follows the ephemeral refractions of light and mood in water. How will we preserve this resource for future generations? Opaque, transparent, or translucent, entering water can delineate both a physical passage and a metaphysical pathway. The point of ingress creates surface tension. A shift in pressure causes liquid to quiver as it is pierced. Air is reduced and then removed. Sound changes: Music becomes obscured and redacted. Silver to black to emerald green: Water is often not blue. Sometimes the sea is a rolling red from deep sea algae. Assisted by the waterscape, these transitions open us to different reflective experiences, sparking introspection about attention, physicality, and mobility in our media-saturated landscape. Schorr’s work does not answer the rhetorical question: what is the color of water? Instead, this project is an invitation to engage in a process of inquiry and contemplation. The Color of Water project grew out of Schorr's introduction to winter swimming near Aarhus. She found herself repeatedly drawn to the stark beauty of Ballehage beach in all seasons. Thus, began a photographic exploration of water and the reflexive states that it encourages. The Color of Water is composed of interrelated bodies of work by Schorr: Osmosis, Riptide, and Ephemeral Metallics. The exhibition also includes The Color of Water: Algorithmic Sea, a work and performance is developed in collaboration with Gabriel Pereira and Carlos Oliveira. A seminar and different workshops will be arranged during the exhibition period. These include Schorr's M.I.N.T workshop for youth, which invites participants to slow down to experience nature, and her interactive performance The Color of Water: Algorithmic Sea that investigates the subjective nature of color, the permeability of images and our subtle acceptance of the pervasive digitization of our experiences. About the artist: Sarah Schorr is an American photographic artist, researcher, and educator. Schorr’s work has been widely exhibited with solo shows at esteemed spaces such as Yancey Richardson Gallery and Scalo Project Space in New York City. Her photographic art has been selected for juried group exhibitions by notable curators such as Elizabeth Avedon and Paula Tognarelli. In 2020, Schorr’s work was honored by the Julia Margaret Cameron Award for women photographers (first prize) in the category of nude with an exhibition at the Fotonostrum Gallery in Barcelona and a Terra Foundation Fellowship residency (postponed to 2021). A catalogue of Schorr’s current work, The Color of Water, will be published by Galleri Image to accompany a forthcoming (2021) solo show of her work and travel (2022) to the Northern Photographic Centre in Finland. Since earning her PhD in 2017, her research examines photographic practice as a mode of contemplation and sense making. Schorr currently lives in Denmark where she works (and swims). You can visit the artist's website www.sarahschorr.com for more informationThe exhibition is supported by the Statens Kunstfonds, the city of Aarhus (Kulturudviklingspuljen), The A.P. Møller Foundation, The William Demant Foundation and the Augustinus Foundation.

ayers of an obscure space, about what we are. Assumed enactments, which do not seek to recreate reality, but where strange moments of relationships between the visible and the invisible are built.Representations behind representations, immobile figures, or in a small gesture, unidentified, expressive bodies, intension. Almost all photographs emerge from the dark, showing people, animals, nature, or small notes of (chaotic) civilization. The textures of the photographs in the spaces alternate between earth and tar, grass, and cement. The scenario where objects and animals appear, causes a strangeness across the work. We immerse ourselves in a world of the author, a journey through images that bring together, separate, and confuse emotions: nothing is linear. Within the frozen images we get lost in a cloud of possibilities. About the artistHelena Gonçalves (b. 1978) is a Portuguese photographic artist based in Portimão. Throughout her career she has worked with staged spaces, sometimes real, sometimes built for the image, with long exposures, pointing the light to part of the scenery that is in the image. Her photography presents the strange moments between the visible and the invisible – light painting on a black canvas. What appears are parts of an underworld, a different layer of our reality. Her work has been exhibited in a number of galleries, festivals and exhibition spaces in Portugal, France, Italy, Spain, the Czech Republic, and more. She is the co-founder of Black Box Atelier and teaches at Ar.Co., Atelier de Lisboa and Etic. Since 2000, she has also been the photographer for the Útero Theater Group.Raiz was first exhibited in 2018 at Antiga Gráfica Alvalade, Lisbon. It is Helena Gonçalves’ first exhibition in Denmark.  The exhibition is supported by the Danish Arts Foundation.

s of the exhibition are director, author and intellectual Pier Paolo Pasolini and Cuban-American artist Ana Mendieta, who both fell victim to a violent death under mysterious circumstances in 1975 and 1985, respectively.Pasolini is known for his film Saló, o le 120 giornete di Sodoma, and Mendieta for her “earth-body” works. Even though the two main characters of the exhibition never met, Peter Brandt connects them, not only through their cause of death, but also through their work as artists, which often revolved around violence and the body.Based on extensive research in Rome, Ostia, Bologna, Carsarsa and New York, the exhibition will explore the connection between the history and atmosphere of a space and the violent acts committed there. Brandt will produce new works for the exhibition, incorporating performance, archive material, text, photos, video and textile works. In conjunction with the exhibition Galleri Image will present a performance and a seminar with Peter Brandt. About the ArtistPeter Brandt (b. 1966) is a Danish visual artist based in Copenhagen. He has a degree from The Royal Danish Academy of Fine Arts in Copenhagen and The Royal Institute of Art in Stockholm. In his artistic practice, he often makes use of feminist strategies and his own body, while refering back to other artists.

nuous study of the evolution and role of the medium. The festival has been referred to as- "the Think Tank of the Photobook" and is acclaimed for its atmosphere and spirit. After exploring Flatness (2019), and Seriality (2020), this year’s edition of Photobook Week Aarhus will focus on Movement and Transition. The exhibition program will embrace contemporary themes such as migration, globalization and post-colonial thinking, and artistic movements such as Dada and Fluxus.In collaboration with PWA’s great network of Danish and international museums and libraries, this year we will extend our exhibitions to include art objects, historical travel guides and accounting books, which will be exhibited along with art- and photobooks. With the festival we want to highlight libraries as a room for contemplation, concentration and creativity, where the book can be a source of information as well as a material support for artistic practice. This year we will focus on the production of photobooks in countries such as Greenland, The Caribbean and the Caucasus region. Read more about PWA at http://photobookweek.org/ or keep up with the latest updates on Facebook and Instagram. ---------------------------------------------------------------------------------------------------------------- Galleri Image founded Photobook Week Aarhus in 2014, and has since collaborated with the Aarhus School of Architecture on organising the festival. PWA focuses on the rapidly growing international interest in photobooks and represents a continuous study of the evolution and role of the medium. PWA presents the photobook to the general public and to individuals who work professionally with photobooks and photography, be it from an artistic, communication-related or academic standpoint. User involvement, openness and dialogue are key words when it comes to the form and content of the festival. For this reason, PWA has placed great emphasis on inviting a large number of exhibitors and speakers who can present the photobook in a cross-disciplinary perspective. This has made it possible to exhibit significant but rare photobooks that have been discussed by researchers, photographers, leading curators, architects and many other qualified contributors from around the world.

ut (from the upcoming book "Keepers of the Ocean") are presented alongside the archival project ”Mirrored - Portraits of Good Hope”, where he has gotten a hold of photos by Greenland’s first photographer John "Ujuut" Møller from the period 1889-1935.To Inuuteq Storch, the two series of artworks in the exhibition are a part of a larger effort to promote Greenlandic self expression and postcolonial consciousness about national pride and identity. The exhibition connects the works of the two Greenlandic photographers over a period of more than 100 years and explores the development of the geographic identity as seen from the perspective of its people. Inuuteq Storch grew up in Greenland, where the landscape and weather is dominant and where nature rules over life’s rhythms. But the stories being told about life in this landscape have historically been influenced by Danish travelers, whose views on its nature and its people have affected how they have been portrayed. In Storch’s art he is searching for his own visual narrative, as well as that of other Greenlandic people: How do the images look, when they come from within and not from the outside? In conjunction with the exhibition, Galleri Image will organise a symposium about Greenlandic identity and culture, with a collection of academics and cultural actors. One of the speakers will be the acclaimed author Niviaq Korneliussen, who has been established as one of the key voices in contemporary Greenlandic literature. The Greenlandic-Latvian visual artist Bolatta Silis-Høegh, who was the curator of the exhibition In Our Lifetime - New Art from Greenland, which included works by Inuuteq Storch, will also participate in the symposium. About the artistInuuteq Storch is a photographic artist with a degree from the International Center of Photography in New York and Fatamorgana in Denmark. His art has been exhibited in Greenland, Denmark, USA, Norway and Columbia. He has also published two photobooks:  Porcelain Souls and Flesh.