
Jesper Alvaer:
"Movement has been an
continuous aspect in my life. I was born by a Swedish mother
and Norwegian father who met in Tunis and moved to Copenhagen
for work where I was born. Three years later, the family
moved to Oslo where I grew up. We lived in various locations
in Oslo, moving from an apartment to a house, back to an
apartment, still another place, then back and forth between
parents when they got divorced. For Christmas and summer
holidays, we went to visit my grandparents, on one side,
in Sweden and, on the other side, on the west coast of Norway.
Both parents worked full-time in the travel industry, so
we traveled with cheap tickets to faraway places, time permitting.
We had various au pairs in our household throughout the
years, from England, China and a native Norwegian woman,
among others. Longer travels included trips to Malaysia
where the local Chinatown was a real discovery, or Bahamas
when coming out of the plane provided a tropical experience.
Throughout the adolescence I had access to almost free airplane
tickets which gave me an opportunity to move around without
a great budget, to a great extent. Later, it was a rational
decision to study art, based on choosing away other things.
A romantic resolution to move to Paris in 1994, was the
start of a longer sojourn, including art and theater studies
in Auvergne, Montpellier and Prague. Then I transferred
the idea of a studio (in terms of production) into a mobile
and flexible situation combined
with travels and more camera-based work, there has been
an growing interest in a shift from merely observing and
documenting to intervene and be involved. In this way, with
a focus on the various possibilities (in a subject/cultural
context a la Heidegger), the focus has been on the very
far away ("alien") which at the same time is very
near, literally just next door. Reading a bigger context
through the details of a guy handing you a snack late at
night, which might be telling you about the civil war in
Algeria, most recent news from Palestine, new economical
zones in south east China, or simply hand you a piece of
pizza incognito.
So in the end, art is not so
much about moving, being alien or traveling; it is the opposite.
In the end, the experience of work is based on the contrast
of the dissimilar, opening up the obvious aspects of "the
other", or "alien" to prove that the spectator
is the equivalent.
Concerning the "emigrant" aspect I believe that
emigration existed for Norwegians in the 19th century. Due
to economical prosperity today, most Norwegians travel to
see the sun and experience what our own culture cannot provide.
I am among this group which has basically little to do with
migration, immigration and emigration, which we consider
"problematic" issues".

"Alvaer's expression
is very efficient. He lays out a scene or what he calls
a metaphor, for viewers - and within a few seconds he is
able to induce an emotional response."
Vladan Sir, Little Wonders, "Umelec
International", vol. 6, 2002

"Jesper Alvaer works with video which
he does not post-produce to a very high extent. He is deeply
interested in living surroundings, but, in his delicate
pieces, one can hardly find even a vague reflection of reality.
He himself works towards understanding the difference between
illusion, mirage - between that what we believe in and the
truth."
Boris Ondreička, Video works of Jesper
Alvaer http://www.kontakt.erstebankgroup.net/report/galleries/jesper/en

"There is a long tradition of the
gallery being a place in which the most obscure mental models
are allowed to take shape. Nevertheless an altogether different
facet comes to the fore in the context of Things You Don't
Know: the importance of transmitting an experience through
a medium into the gallery, and Alvaer's main concept is
the indication of an experience which comes after we leave
the gallery."
Jiří Ptáček, Thin Czech Line, "Umělec"
3/2003, p.89.

"Nothing was completely clear, but
we had filled half a day with unconventional playacting.
We had become tourists in our own home- town. As a collective,
we had allowed ourselves to be led by Alvaer's ideas, and
we had not even asked about the concept of the whole program.
Someone else had taken care of us instead of us, and under
no pressure we had perceived Alvaer's gift of observation.
For one afternoon we were freed from having to sit behind
a computer, or make art. And for one afternoon it was possible
to live like that."
Jiří Ptáček, Alvaer Under an Ardent
Sun, "Umelec" 1/2003, p.13.

"Jesper Alvaer produces works with
a sociological inclination (...). He avoids an ideological
involvement. His actions are subtle in relation to people;
he does not manipulate them. Alvaer offers us new possibilities;
we can formulate questions, search for materials. The artist
provides us with an impulse and instruments. He accustoms
us with the thought that there are Others living next to
us, but we will never be able to get a true insight into
their mysteries. There are cultural differences he does
not attempt at overcoming."

The Prague Biennial: a Dream about Greatness,
Magdalena Ujma
and Joanna Zielińska talking. http://www.bunkier.com.pl/
index.php?section=teksty_bunkier‚"=teoria&more=22

Jesper James Alvaer
b. 1973, Copenhagen, Denmark
1991
- 1993 studied history of ideas at the Oslo University
1994
- 1994 studied visual communication at Ecole Brousse,
Montpellier
2001
- 2000 studied at CooperUnion School of Art, New
York
2002
- 2003 scholarship at the Centre for Contemporary
Art, Kitakyushu
2003
awarded Tranzit Art Prize
1997
- 2004 studied at the Academy of Fine Arts (MFA)
in Prague
2004
- 2006 ITAM-ARCCHIP (Advanced Research Center for
Cultural Heritage Inter-Disciplinary Projects), the Czech
Academy of Sciences, Prague associated with the Display
Gallery in Prague
lives and
works in Prague and Oslo

selected one-man shows:
2006
Transculture: Act I, with Isabela Grosseová,
Moravská Galerie, Brno, CZ
Ideal Identity, Czech Center, New York, USA
2005
Fair, the Royal College of Art, London, GB
2003
Gin & Yang, video programme, the K & S
Gallery, Berlin, D
Traffic, Fokuoka Museum of Art, Kitakyushu Museum
of Art, J
2002
Gracze / Players, the BWA Gallery, Wrocław, PL
Jesper Avaer - video installation, the Mala Spalovka
Gallery, Prague, CZ
From Japan with Love, the Display Gallery, Prague,
CZ
Laska, Centrum súčasného umenia, Bratislava, SK

selected group exhibitions:
2006
By the Way,
the Jiří ©vestka Gallery, Prague, CZ
Economy Class, Alliance Française, Nairobi, K
Absolutely Private, Tokyo Metropolitan Museum of
Photography, Tokyo, J
In the Neighbourhood, De Veemvloer / Artwalks,
Amsterdam, NL
Fresbee, Dům Umění, Brno, CZ
EUROPart, Billboards, Vienna, A
2005
Definition of Everyday, Prague Biennale 2, Prague,
CZ
Biennal for Young Artists, Dům U Kamenného zvonu,
Galerie hlavního města Prahy, Prague, CZ
Fortunetellers, BABA, Kanazawa, J
The Water Event, Astrup Fearnley Museum for Moderne
Kunst, Oslo, N; The Migros Museum Für Gegenwartskunst, Zürich,
CH
IRREDUCIBLE, Wattis Institute for Contemporary
Art, San Francisco; Miami Art Central (MAC), Miami; Bronx
Museum of the Arts, New York, USA
2004
Foreign Bodies, NoD, Roxy, Prague, CZ; Kunstraum
Kreuzberg/Bethanien, Berlin, D
Avant propos, Galerie RX, Paris, F
Challenge, Centrum súčasného umenia - Synagóga,
Trnava, SK
How 2 End A Message, 45. Oktobarski Salon - Kontinentalni
doručak, SKC, Belgrad, SCG
UKS Biennalen IIII, UKS, Oslo, N
Passages d'Europe, Musée d'art moderne, Saint-Etienne,
F
Supraphon / Ma Chanson Favorite, the Maison d'Art
Gallery, Osaka, J
A.K.A. (Also Known As), Berliner Kunstprojekte,
Berlin, D
Like Beads On An Abacus Designed To Calculate Infinity,
Rockwell, London, GB
Peregrinations, Multiplace 3, České centrum, Bratislava,
SK
Desidolize Now, Jeune Creation 2004, Grande Halle
de la Vilette, Paris, F
access cz.hu.pl.sk. with R. Ku¶mirowski (pl), B. Ondreička
(sk) i Kis Varsó (hu), Prague, CZ
Collective Non-hereditary Memory (Chinese Whisper),
the Display Gallery, Prague, CZ
Chinatown Project part 2, Prague, CZ
New Video, New Europe, the Renaissance Society,
Chicago; The Contemporary Art Museum, St. Louis, USA; the
Tate Gallery, London, GB; Stedelijk Museum, Amsterdam, NL;
Museum of Art, North-Dakota; the Kitchen, New York, USA
2003
Meta Project, Her Project, the Goethe Institute
and the Display Gallery, Prague, CZ
Things You Don't Know, the K & S Gallery, Berlin,
D
Old Habits Die Hard, Sparwasser HQ, Berlin; Hamburger
Bahnhof, Berlin; Motorenhalle, Drezno, D; the Norwich Gallery,
Norwich, GB; Kunstnernes Hus, Oslo, N; Platform Garanti.
Güncel Sanat Merkezi, Istambul, T; Yeans/Rex/Galleri Box
Kungshoeyd, Göteborg, S; Art in General, New York, USA
Kompression, Kolonie Wedding, Berlin, D
Oslo Open 2003, Sporveien - project in public space,
Oslo, N
In/Out, Praga, CZ; Trafo-Budapest, Budapest, HU
In Situ, Chinatown Project part 1, the Display
Gallery, the Jelení Gallery, Prague, CZ
Cafe Bratislava, Kunstlerhaus Passage Galerie,
Vienna, A
Mobile Seminar, Prague, CZ
Prag - Aktuelle Videokunst in the scheme of Balkan
Konsulat, Graz, A
Catalyst Arts, Belfast, NI; 911 Media Center, Seattle;
Minicine, Los Angeles, USA; Dundee Contemporary Arts, Dundee,
GB; Hull Time Based Arts, ROOTX Festival, Hull, GB; Videotage,
Hong Kong, CH; the Soap Gallery, Kokura; Center for Contemporary
Arts, Kitakyushu, J; Art in General, New York, USA; Moving
Image Center, Newton, NZ; the Red Gate Art Academy, Beijing,
PRC
Enter Human, Open Studios (CCA), Kitakyushu, J
2002
Dukes of Hazard, Maeda Studio (CCA), Kitakyushu,
J
Norwegian Student Film Festival, Filmhuis Lumen, Delft,
NL
Pass Me the Butterfly, the d.u.m.b.o. arts center
(dac) Gallery, New York, USA
Wechelstube, Eigen+Art, Stuttgart, D
Umělec Presentation, Palais de Tokyo, Paris, F
Fair, the Royal College of Art, Londn, GB
Extradi(c)tion, Museo del Agua, Lisbon, P
Collective Nostalgia, Biennial for Young Artists,
Národní galerie, Prague, CZ
Le Jardin de Kaboul, Akademie vytvarnych umeni,
Prague / School of the Art Institute of Chicago, Prague,
CZ
2001 - 1998
Ostensiv, Kunstraum b/2, Leipzig, D
Festiwal Criss Cross, Broumov, CZ
Distant Similarities or Something Better Than Cosmetics,
Múzeum súčasného umenia, Prague, CZ
Maxisklad, Manes, Prague, CZ
Skeleton Peleton, Otevřené ateliéry, Prague, CZ

Isabela Grosseová
b. 1976, Praga, Czech Republic
1994 - 1995 studied contemporary painting at the
Academy of Fine Arts in Prague
1995 - 1999 studied at Inter-Media Art Studio at
the Academy of Fine Arts in Prague
1997 studied at Libre de Bruxells University, Bruxelles
1998 studied at Kungliga Konsthogskolan, Stockholm
1999 awarded the Rector of the Academy of Fine
Arts in Prague
1999 - 2000 studied architecture, the School of
Architecture, Prague
2000 - 2001 diploma at the studio of prof. Milan
Kníµák, the Academy of Fine Arts in Prague
2001 - 2005 architect artist at the AP Atelier
in Prague
2003 Artist in Residence, Art in General, New York
2005 architect artist at the Acconci Studio, New
York
lives and works in Prague

selected one-man shows:
2003
Habitable Statues, Art in General, New
York, USA
2002
Habitable Pictures, the Caesar Gallery, Olomuniec,
CZ
Habitable Pictures, the Jelení Gallery, Foundation
and Centre for Contemporary Art, Prague, CZ

selected group exhibitions:
2006
Open Studios,
Vermont Studio Center, Johnson, USA
Japanegro, the Gallery Onetwentyeight, New York,
USA
The Biennale of Contemporary Art, Zlín, CZ
2005
Vlastní pohled / Private View, project in collaboration
with Jesper Alvaer, Telč, CZ
Systems You Have Seen, Linz Kunsthalle, Linz, A
Collective Non-hereditary Memory II, travelling
project realised in collaboration with Jesper Alvaer, Prague
Libu±, CZ
2004
Systems You Have Seen, Veletrµní Palác, Prague,
CZ
Past Splendor of Diversity, Nominated to the Jindřich
Chalupecki Prize, Dům Umění, Brno, CZ
Autumn Plot, project "Gemine Muse", Racconigi
Castle, Racconigi, I
2003
Youngest, Veletrµní Palác, Prague, CZ
The Biennial of Contemporary Art, Zlín, CZ
M. Knizak a jeho atelier na AVU, Al±ova Jihočeská
Galerie, České Budějovice, CZ
2002
Centrum voor Beeldende Kunst, Dordrecht, NL
Habitable Pictures, the National Gallery, Prague
CZ
2001
Diploma works at the Academy of Fine Arts, Veletrµní Palác,
Prague, CZ

bibliography
- Jiří Ptáček, Tenká česká linie, "Umělec"
3/2003, p. 86-89.
- Tenże, Alvaer pod rozpáleným slunkem, "Umělec" 1/2003, p.13.
- Vladan ©ír, Little wonders, "Umělec" 1/2002, p. 92-93.

[Translated by Małgorzata Sady]
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