Seeing Through Shortcomings: Components of the imprinted image in traditional printmaking techniques
školitel: prof. Vladimír Kokolia, Ateliér grafiky 2

Traditionally, printmaking might be understood in a 1:1 scale, a piece of paper, a plate, a motif, some ink, pressure, paper, imprint...Removed from this obvious site, the project Seeing Through Shortcomings...attempts to locate traditional printmaking as a tool or framework for thinking elsewhere, out of scale, out of print. The initial phase of Seeing Through Shortcomings...consists of facilitating a number of individual and group inquiries. This collaborative approach includes bringing 20 people though a series of (un-)prepared exercises, conversations and observations where printmaking as an apparatus of bodily production is contextualized, decontextualized, and again re-contextualized. In this process, we may observe intra-actions, interferences, retreat positions, reflexivity, situated or partial knowledge, or unexpected embodied vision. The material and mental results of this activity function as initial building blocks. The working title of this foundational subproject is Graphic Unconscious. The overall project Seeing Through Shortcomings...oscillate between routine activities in the studio/traditional printmaking workshop and individual/collective inquiries. The general approach thus builds upon a practice of decentering in relation to multiple authorship, current printmaking epistemologies and pedagogies.

Profesní data

Životopis

Jesper Alvaer (born 1973) received his artistic training mainly in Prague, New York, and Kitakyushu. During 2013–17 he was a Research fellow at the Oslo National Academy of the Arts with the project Work, work: Staging dislocation in artistic and non-artistic labor. In addition to showing his art at a number of international exhibitions, Alvaer has also participated in numerous study, residence, and research programmes. His most recent exhibitions include Immune Nations (UNAIDS, Geneva, 2017), Making Use: Life in Postartistic Times (Museum of Modern Art, Warsaw, 2016), Mother, Dear Mother, (Kunstnernes Hus Oslo, 2014), Arbeidstid/WorkTime (Henie Onstad Kunstsenter, 2013) as well as several exhibitions held in collaboration with Isabela Grosseova: Pre-pre-pre-pre-prev-view (Galerii sam 83, Česká Bříza 2020) Divak Ma Cenu, Galerie TIC, Brno 2019), Theatre of Static Objects (DiStO 02, PAF, Olomouc 2017), Competencies (Fotograf Gallery, Prague 2015), Activum (Kunstnerforbundet, Oslo, 2013), Figure and Ground (Bunkier Sztuki Contemporary Art Gallery, Krakow, 2007). 
Jesper Alvaer explores through artistic practice, shifts in conventions regulating artistic labor in the expanded field of art, responding to the radical shifts in artistic practice, related to its deskilling, distributed agency and blurred authorship. For the last decade, Alvaer has been engaged in these topics in different ways - through exhibitions, covert performances, relational pieces, workshops - to test the contemporary limits of artistic labor, enhancing his study by applying methodologies of social sciences. Through employment, delegation and other forms of collaboration, Alvaer scrutinizes the relation linking artists and other participants of artistic process, asking how much can one subtract from professional role of an artist and still be able to share artistic faculties with others? In other words, what is artistic competence after deskilling and how can it be mutualized?