Excerpts of a diptych object video on montiors with headphones, Ballet Mécanique №1 / Ballet Mécanique №2, 13’42” and 8’15”, 2024
Excerpts of a single-channel video on screen, Hvis en tusenkunstner lever og vil leve av sin kunst
(If a multi-talented artist lives and wants to live off their art), 7'35'', 2024
Videos for solo exhibition Kunst i dei tusen heimar, Sogn og Fjordane Contemporary Art Museum, Norway, 2024
Note: you can also play this video as an .mp4 or download it as a .mov.
Alt Går Bra produced these videos for their solo exhibition Kunst i dei tusen heimar at Sogn og Fjordane Contemporary Art Museum in Førde, Norway, March 21st - August 11th, 2024.
These works have only been shown at this venue.
The diptych Ballet Mécanique №1 / Ballet Mécanique №2 was shown on two monitors with headphones, in a room as part of the installation Airborne Apotheosis, consisting in a split-flap display, electronics, and a dot matrix printer printing on a fanfold continuous paper.
The diptych single-channel videos are object videos. In 2023, we envisioned a dispositif to produce videos performatively without post-production nor editing. These Object Videos result from a combination of analog, performative, and digital procedures, exploring questions of technology.
The single-channel video Hvis en tusenkunstner lever og vil leve av sin kunst was shown on a screen in a dedicated video room.
This is a video conversation with Jan Holsen, the last Stranda painter.
Worldwide, Norway is known for its landscapes; less familiar is the Norwegian people’s relationship to nature. Rather than focusing on museal depictions of the landscape, our project Strandamalerne, Self-taught Painters from Norway (2019-2024) looks at visions from the margins.
During the Postwar period until the 1970s, a dozen families of farmers in the rural site of Stranda in western Norway produced half a million paintings in two decades (1950-60s)--an unstudied phenomenon without ready-available sources. These self-declared artists gave a visual form to the nature that surrounded them. In their depictions, nature is home and inhabiting it is an act of balance: mountains, fjords, trees, little cabins, small fishing boats. Their iconic canvases decorated nearly every Norwegian home.
We disassemble these paintings, overlooked by art and academic institutions, to investigate how those inside the landscape and outside the artworld depicted nature as home.
Since 2019, we have carried out research on the Strandamalere through oral history interviews, exhibitions, discursive events, performances, writing, and an embroidery contest, among others.
For our 2024 solo exhibition Kunst i dei tusen heimar: Strandamalerne at Sogn og Fjordane Contemporary Art Museum in Førde, we produced over 50 new artworks for a space of nearly 500 sqm. on three floors of the museum. Artworks included two large installations, Mona Lisa 1952, a 4x6x2m free reconstruction of a Louvre Museum display for Mona Lisa, and Heng på, an installation of growing size, showing some 200 Strandamalere paintings lent by the public.
We have also produced performances in the public space, including Strandaparade, with 12 large faner (banners). Inspired by Augusto Boal's "Invisible Theater," we developed a series of performances through landscapes and cityscapes, and a Strandabroderi contest, inviting the public to embroider a Strandamalere motif--further information about Strandabroderi in Norwegian: www.altgarbra.org/broderi.
Co-organized with the Contemporary Aesthetics Research Group at the University of Bergen, a 3-day scholartistic seminar with professors and curators discussed Alt Går Bra's artistic practice with the Strandamalere Project as a case study.
Alt Går Bra published the first book dedicated to the Strandamalere, Strandamalerne, Norges mest populære malerier, with the publishing house Museumsforlaget in December 2024. A 300 page volume edited by Alt Går Bra, the book sheds light on the Strandamalere phenomenon and Alt Går Bra's journey of discovery.
Alt Går Bra was founded by Agnes Nedregård and Branko Boero Imwinkelried in 2015. Run by the duo, Alt Går Bra is conceived as an art collective with an infrastructural practice--exploring ways of organizing and working with others while transgressing borders between artist-run and institutional, art production and dissemination, artistic practice and art theory.
With roots in the opposite poles of the earth, South America and Scandinavia, Alt Går Bra interweaves situated latitudes into long-term and process-based projects.
Alt Går Bra has presented its work at over 200 spaces, ranging from small venues and community spaces to large institutions, including the National Museum of Norway Nasjonalmuseet, KODE Bergen Art Museum, Bergen Kunsthall, the University of Westminster, Palais de Tokyo, and the Victoria and Albert Museum.
Alt Går Bra’s work is in the permanent collections of institutions including the National Museum of Norway Nasjonalmuseet, MAC VAL Contemporary Art Museum, KODE Bergen Art Museum, Sogn og Fjordane Kunst Museum, KORO Public Art Norway, Trondheim Kommune, Tate Archives and Library, and John Flaxman Library School of the Art Institute of Chicago.
Alt Går Bra has received support from funding bodies including the Norwegian Arts Council Kulturråd, KORO Public Art Norway, OCA Office of Contemporary Art Norway, Vestland County, Bergen City Council, Fritt Ord, Billedkunstnernes Hjelpefond, Billedkunstnernes Vederlagsfond, Barents Secretariat, Arts Council England, UK National Heritage Fund, and Pro Helvetia.
A recent book surveys the 10-year practice of the collective: Alt Går Bra / Tout Va Bien, An Adage for Contemporary Art (Silvana Editoriale, 2026) edited by Nicolas Surlapierre, Frédérique Toudoire-Surlapierre, and Alessandra Ballotti, with a preface by Jacques Rancière.
Agnes and Branko live and work between Paris and Bergen (Norway). They do not have a solo practice and all their works are produced under the Alt Går Bra collective. Therefore, they share a unique CV and bio.
For further information, visit Alt Går Bra's website www.altgarbra.org