jesper bilde utstilling KH_web

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Mor, kjære mor

10. januar – 9. februar 2014

Åpning fredag 10. januar kl. 19.00

Kl. 19.00: Velkomsttale ved kunstnerisk leder Mats Stjernstedt. Etter talen serveres bløtkake.

Fra kl. 22.00: DJ/Roman Fiordmoss (Berlin/DE)

Jesper Alværs arbeid baserer seg på en langvarig undersøkelse av ulike kulturelle fenomener og utvekslinger. På Kunstnernes Hus viser Alvær utstillingen Mor, kjære mor, en lydinstallasjon og en regissert lyssetting som kommenterer en rekke utvalgte objekter. Utstillingen er et resultat av at kunstneren i anledning av regjeringsvalget i 2013 meldte seg inn i samtlige større politiske partier i Norge. I kraft av sine medlemskap har Jesper Alvær engasjert seg i de respektive partipolitiske virksomhetene, både før og etter valget i september i fjor, og fra disse sammenhengene henter han erfaringer som objektene i utstillingen refererer til.

Objektene har blitt abstrahert til fire reduktive skulpturelle former som er utgangspunkter for en fortelling. Utstillingens lysinnslag har en veiledende funksjon og indikerer besøkerens og lytterens bevegelse i rommet ved at lydsporet – en rekke kortfattede uttalelser – alle bringer assosiasjoner til politiske motiv i samtiden og i moderne norsk historie. Lydsporet i sin helhet kommenterer et innhold som kan sammenfattes med begreper som omstilling, omforming og omstrukturering i en samtidspolitisk kontekst.

Noen få objekter med en viss partipolitisk tilhørighet finnes i utstillingen. Gjennombruddet er en gipsavstøpning av en skulptur av Ørnulf Bast, en kunstner som ellers er kjent for de to bronseløvene som vokter Kunstnernes Hus’ entré. Den markerer inngangen til utstillingens arkitektur, mens selve bronseavstøpningen befinner seg i Arbeiderpartiets partikontor i Oslo. I utstillingen finnes også en henvisning til arbeidermonumentet Pionéren av Per Palle Storm som står på Youngstorget. Samme skulptur i miniatyrformat overrekker Landsorganisasjonen (LO) sine medlemmer som et uttrykk for lang og tro tjeneste. I utstillingen vises miniatyren imidlertid i indirekte form, representert gjennom sin avstøpningsform, lik et avlagt skall som understreker det transformatoriske som preger Alværs utstilling. Mor, kjære mor kan sees som et forsøk på å beskrive aktuelle emosjonelle erfaringer av en nasjon i politisk forflytning og hvordan verdihierarkier er utsatte for kontinuerlig påvirkning og forandring. For å utvikle et slikt resonnement følges utstillingen av et program med inviterte gjester hvis kommentarer dokumenteres og integreres som en del av utstillingen.

Jesper Alvær (f. 1973) har sin utdannelse fra Praha, New York og Kitakyushu, Japan. I perioden 2013-16 er han stipendiat ved Kunsthøgskolen i Oslo, avd. Kunstakademiet, med prosjektet Work, work som tematiserer arbeids- og økonomiske forhold omkring produksjonen av kunst og kunstnerisk kontekst på den samtidige kunstscenen. I tillegg til en rekke utstillinger internasjonalt har Alvær også oppholdt seg ved en rekke studie-, residence- og forskningsprogrammer i Norge og utlandet. Siste utstillinger inkluderer blant annet Arbeidstid, Henie Onstad Kunstsenter, 2013, Activum, Kunstnerforbundet, Oslo, 2013, Eventos Paralelos, Manifesta 8, Murcia, 2010/11 og på Bunkier Sztuki Contemporary Art Gallery, Krakow, 2007.

Arrangementer i forbindelse med utstillingen på Kunstnernes Hus
11. januar kl. 14.00:
Kunstner viser kunstner: Kuba Szreder, freelance kurator, sosiolog, kunstteoretiker, skribent og grunnlegger av Free/Slow University i Warszawa. Szreder er PhD kandidat ved Loughborough University Leicestershire, Storbritannia.

16. januar kl. 19.00:
Artist talk: Jesper Alvær

25. januar kl. 15.00:
Kunstner viser kunstner: Stephen Wright, kunstner bosatt i Paris. Stephen Wright er kunstkritiker og professor i praktisk teori ved European School of Visual Arts in France.

USE — Unidentified Sophic Encounters / SW

What happens when artists go AWOL, go underground, drop off the radar, only to reemerge elsewhere, far from the frames of the artworld, living a kind of «double life» — playing for real, as it were, yet also seeing what they’re doing as somehow informed by art? What kind of exchanges transpire in such undercover operations? What modes of knowledge are mobilized? And what is purpose or use-value of such forms of USE — Unidentified Sophic Encounters?

Stephen Wright is an art writer and professor of the practice of theory at the European School of Visual Arts (www.eesi.eu) in France. Over the past decade, his research has examined the ongoing usological turn in art-related practice, focusing on the shift from modernist categories of autonomy to an art premised on usership rather than spectatorship. A selection of his texts may be found on the collective blog n.e.w.s. www.northeastwestsouth.net.

8. februar kl. 14.00:
Kunstner viser kunstner: Christopher Kulendran Thomas er kunstner bosatt i London og Berlin. Siden han ble uteksaminert fra MFA i Fine Art ved Goldsmiths, London, i fjor, har han holdt separatutstillinger på Kraupa-Tuskany Zeidler, Berlin, Center for Contemporary Art, Tel Aviv, og Mercer Union, Toronto.

 

Utstillingen er støttet av Norsk Kulturråd.

 

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Mother, Dear Mother

 

10 January–9 February 2014

Opening Friday, 10 January 2014, 7pm.

Opening speech by Director Mats Stjernstedt. Cake will be served after the speech.

From 10pm: DJ Roman Fiordmoss (Berlin/GER).

Jesper Alvær’s art is based on a lengthy investigation of various cultural phenomena and exchanges. For the next month, Kunstnernes Hus will be exhibiting Alvær’s latest work, Mother, Dear Mother, an installation that combines soundscapes and staged lighting to comment on a few selected objects. The exhibition is the outcome of Alvær becoming a member of every major political party in Norway in conjunction with the general election in September 2013. He used these memberships to become involved in the political activities of the respective parties, both prior to and after the election, and the objects in the exhibition refer to his experiences during these activities.

The objects have been abstracted to four reductive, sculptural forms that serve as narrative bases. The exhibition’s lighting has an auxiliary function, indicating the visitor’s and listener’s movement in the room by way of the soundtrack, a series of brief statements that allude to political scenes from both the present day and modern Norwegian history. The soundtrack comments in its entirety on a subject matter that can be encapsulated in terms such as change, transformation, and restructuring in the context of contemporary Norwegian politics.

The exhibition features a handful of objects with a certain political resonance. The Breakthrough (Gjennombruddet) is a plaster cast of a sculpture by Ørnulf Bast, famous for the two bronze lions guarding the entrance to Kunstnernes Hus. The Breakthrough demarcates the entrance to the exhibition, while the original bronze sculpture is located at the headquarters of the Labour Party in Oslo. The exhibition also alludes to the sculpture The Pioneer (Pionéren), Per Palle Storm’s monumental homage to the working man, which is also to be found at Young’s Square, Oslo. The Norwegian Confederation of Trade Unions (LO) bestows a miniature version of this sculpture to its members as a decoration for long and faithful service; at the exhibition, however, this miniature version is shown indirectly by way of its casting mould, similar to a cast-off shell that emphasizes the transformative nature of Alvær’s exhibition. Mother, Dear Mother can be seen as an attempt to describe not only the contemporary emotional experiences of a nation undergoing a political shift, but also how value hierarchies are susceptible to continuous pressure and change. In order to develop this argument, the exhibition is accompanied by a series of events with invited guests, whose comments will be documented and incorporated into the exhibition.

Jesper Alvær (b. 1973) received his artistic training in Prague, New York, and Kitakyushu (Japan). During 2013–16 he is a PhD candidate at the Academy of Fine Art (part of the Oslo National Academy of the Arts), with the project Work, Work, which thematizes working and economic conditions related to the production of art and the contemporary art scene. In addition to showing his art at a number of international exhibitions, Alvær has also participated in numerous study, residence, and research programmes both in Norway and abroad. His most recent exhibitions include Arbeidstid/Work Time (Henie Onstad Kunstsenter, 2013) as well as several exhibitions held in collaboration with Isabela Grosseova: Activum (Kunstnerforbundet, Oslo, 2013), Eventos Paralelos (Manifesta 8, Murcia, 2010/11), and an exhibition at Bunkier Sztuki Contemporary Art Gallery, Krakow, 2007.

Programme of associative events at Kunstnernes Hus
11 January 2014, 2pm:
Artist Shows Artist: Kuba Szreder, freelance curator, sociologist, art theorist, writer, and founder of the Free/Slow University in Warsaw. Szreder is a PhD candidate at Loughborough University, Leicestershire, England.

16 January 2014, 7pm:
Artist Talk: Jesper Alvær.

25 January 2014, 3pm:
Artist Shows Artist: Stephen Wright lives in Paris and is an artist, art critic, and professor of practical theory at the European School of Visual Arts in France.

USE — Unidentified Sophic Encounters / SW

What happens when artists go AWOL, go underground, drop off the radar, only to reemerge elsewhere, far from the frames of the artworld, living a kind of «double life» — playing for real, as it were, yet also seeing what they’re doing as somehow informed by art? What kind of exchanges transpire in such undercover operations? What modes of knowledge are mobilized? And what is purpose or use-value of such forms of USE — Unidentified Sophic Encounters?

Stephen Wright is an art writer and professor of the practice of theory at the European School of Visual Arts (www.eesi.eu) in France. Over the past decade, his research has examined the ongoing usological turn in art-related practice, focusing on the shift from modernist categories of autonomy to an art premised on usership rather than spectatorship. A selection of his texts may be found on the collective blog n.e.w.s. www.northeastwestsouth.net.

8 February 2014, 2pm:
Artist Shows Artist: Christopher Kulendran Thomas is an artist based in London and Berlin. After graduating in 2013 with an MFA in fine art from Goldsmiths, London, he has held solo exhibitions at Kraupa-Tuskany Zeidler (Berlin), the Center for Contemporary Art (Tel Aviv), and Mercer Union (Toronto).

 

The exhibition is supported by Art Council Norway.

 

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