The act of stripping thus becomes symbolic. However, she is not a loser on that account. Yet here, as Kim Gordon plays the border fence, it simultaneously becomes a structural tool, the sound providing the music for the dancers in the performance space to perform in real time. The Power of Motion, group show, Media Art Sammlung Goetz, Karlsruhe, Germany - ARTscape: Denmark - Jesper Just, Galerija vartai, Vilnius, Lithuania - Jesper Just: Romantic Delusions, Tampa Museum of Art, USA 2009 - Code share, Contemporary Art Center (CAC) Viltinius. But in contrast to other astronauts, his breath is expelled; it mists the entire room and causes the leaves to rustle ever more loudly, while sunbeams play across the toilet cubicles. August made the composition for the self-playing piano.
Bridging a link to the disabled character of the Child, the installation forces visitors to confront their own bodies and physical abilities to illuminate ableism. When traditional ballet vocabulary is present, for instance when the dancers execute a series of syncopated tendues, the movements are so simple and straightforward they would rarely appear in traditional classical ballet performance; its the basic vocabulary. The films move from the exotic garden of dreams to the separating cross-roads of the courtroom, and finally to the city scene in a grim industrial area. Human beings consist of many narratives, many stories. The second part of the trilogy takes place in a courtroom. His actions remain ambiguous.
For the missing words imbue body, song and glance with a more precise alternation between losing and winning than is possible in the cacophonic sign system of the spoken language. The lighting is suggestive of a still-life, making us believe, for a moment, that they are wax models. Being interested in how public and private spaces define and shape the nature and extent of human interactions, Jesper Just further plays with the notion of architecture performing in his films and installations to echo and expand his characters enigmatic journeys. The installation itself used wheelchair ramps and scaffolding to intersect and fragment the preexisting architecture. Her clankings and knockings on the physical border created a sound that was physical and played directly from the floor, creating vibrations. It is a constant negotiation and renegotiation. You shouldnt have come, he insists in a broken, trembling voice, to which the young man replies with an admixture of the psychopathic and the affectionate: Im leaving now anyway.
The trilogy It Will All End In Tears (2006) displays an even more intense focus on the works' common, diffuse relationship between dream, fiction and reality. Whereupon the man sings "Only You". Born in 1974 in Copenhagen, Denmark. The performance has several auditory components: in addition to the single-channel sound in the films, the movable floor also functions as a spatial musical object, and in the middle of the show the audience becomes acquainted with a self-playing piano. JJ: I was partly interested in the overlap of different body paradigms within the same space. Johnson Museum, New York, USA - heart Herning Museum of Contemporary Art, Herning, Denmark - Honart Museum, Teheran, Iran - Israel Museum, Israel - Kiasma, Finnish National Gallery, Helsinki - Louisiana Museum, Humlebaek, Denmark - Malmö Konstmuseum, Malmö,Sweden - Moderna.
Our assimilated ideas and expectations towards masculinity and femininity, the division of power between the subject and object of the glance, and towards sexuality as a giver of meaning in a heterosexual-dominated society, become, in these works, challenged by other possible combinations and mixed relationships. When she finally tries to kiss him, he thrusts her aside, and just as in The Sweetest Embrace of All the situation suddenly changes character. The young man reaches out his hand and touches the older man on the forehead. Only the older man remains, sitting hunched, stripped of both dreams and the inner need for reality, crying in relief and dejection. Is it the younger generation of males alone who are able to show their feelings in the presence of other men? In the place of the traditional physical strip-tease - the logic of which leads to a revelation of the naked body - Justs videos speak of a psychological strip-tease driven by an alternative and far more complex and less predictable. They occupy the jury box, and this time they have something to say: "I've Got You Under My Skin" they shout, their faces contorted in aggressive grimaces. As the female body is traditionally viewed as the place from which everything derives historically, space has been perceived as female, whereas time, and relatedly history, have been viewed as more male concepts...
Is it something that Hitchcock taught me? They sit stiffly, staring into space. This time, however, her prince is no prince in a shining castle. It is as if the hour of reckoning has arrived. In this way a narrative network is constructed which, with complexly interwoven stories, stands in glaring contrast to the wordless films and their communicative exceptionality. And which state is then the exception? On the contrary, Just consciously plays on the idea of video art as a construct that can verge on the real through the invention of fictions and the picturing of other worlds.
In these three films, we become spectators to an ever more desperate state of exception, and an emancipation process that receives a grandiose release. Here, other kinds of exceptional states are at work besides the communicative, and gender and identity dare to exceed the boundaries of their fixed forms. And with territory comes the complicated issue of ownership, belonging, and otherness. In Bliss and Heaven, doubt is cast on the identity of these parts and their mutual relations in a grandiose anti-show. Her adoring gaze is not, however, reciprocated by the man, who stands bathing narcissistically in the light she reflects. Justs interest in film is similar to Huyghes and Gordons, but thematically and aesthetically resembles more the work of Matthew Barney, Cindy Sherman and Eija-Liisa Ahtila. We instinctively feel that there is a closer bond between these two men, a suspicion that increases when the young man begins to weep as the man at the bar stands, assuming the pose of a Christ, his deep voice. The loops served as this linking thread repeated, much like the movements of the choreography, but sometimes the loops were distorted or building or abstracted. In this oppressive atmosphere, with the older man in the witness box and the young man in the gallery, a solid reality check is introduced in the form of the darkly-dressed group of men we saw earlier. Is he the young mans father?
This slippage or rupture forms its own architecture, which also comments on themes of passivity, ableism, and laborlike the way in which the Mexican-American border is emblematic in discussions surrounding labor, migration, alienation, and the right of bodies to be mobile and autonomous. As the young man begins to walk towards the lift, the 'action film' begins, and the elderly man runs up the staircase, opens the lift door and finds the young man in a tight embrace with a beautiful girl. NS: There is a strong correlation between the modular fragmented flooring and the bodily concepts represented throughout the show. These conflicts, which are often dramatically downplayed in relation to inter-masculine relations in mainstream film, touch on the horizon of understanding of our culture with regard to gender relations: what do these men have to do with each other? Contemporary Art From Åland, Denmark, Finland, Greenland, Iceland, Norway, And Sweden, Scandinavia House, New York, USA 2018 - Contemporary Art from Denmark, Reykjavik Art Museum, Reykjavik, Iceland - Music for the Eyes, Santa Maria della Scala, Siena, Italy. They do not, however, wish to buy a pre-packaged, uniform form of fiction.
These scenarios are not, perhaps, in any way typical of the strip club milieu. Jørgensen, Denmark - Upside Down, Main Library of Copenhagen, Copenhagen - Out There, Kunstkredsen, Flensborg - Nightclubbing, frame, Copenhagen 1999 - The Advent Calendar, otto Artnode. Of the five men in the club it is the youngest who weeps, and he alone wears a tracksuit rather than a three-piece suit. How we use bodies has shifted. She composed four loops of music, which August then arranged over different parts of the work in various segments and temporalities, helping to form four movements of the ballet. In other words, Just is less interested in any superficial corporeal nudity than he is in a deeper, subcutaneous nakedness of heart and mind. Under his management the Danish Academy became a prominent school that provided fully a sponsored education system, welfare, and health care to its students from early childhood until eighteen years of age. But the apparent beautiful simplicity of the stream of images, free of dialogue, both disappoints and enriches in the same way as a verse that does not quite rhyme. Jesper Justs integration of the film media into video art is not just present in his pregnant ability to play with convention and reference, but also in his professionalism.
As well as conceiving of his works as collective productions in which he works with trained actors, singers, photographers, composers and sound engineers, as well as functioning as director and editor, he seeks a concentrated formal expression in which nothing seems left to chance. Is it even possible? The gender and identity codes of the men's room have been dissolved and replaced by a breathing wonder that transports us further than to the curtain fall. We see five men spread throughout the room, two of them a couple. The two men roll around on the floor to the tones of a castrato-choirboy and a rhythmic pulse, which we intuitively feel represent the inner-voices of the two men. These conceptions are also realized through the framing of the video works, and moreover by different choreographic registers. On a more concrete level, there is also something to find for the one who watches and listens. As recent, especially feminist, film theory has pointed out, classical Hollywood productions influence, if not to say control, our collective consciousness, the psychology of the public and the public imagination, and not least, our understanding of power relations, the relations.
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