Jesper Just uses the language of cinema to confront and divert the stereotypical Hollywood constructs of masculinity and femininity, as well as the biased representation of minorities and people with disabilities in mainstream culture. His short films and multi-projection video installations question the mechanisms of cinematic identification and break viewers’ expectations of narrative closure by unfolding surrealist, emotionally ambiguous, open-ended, and often silent situations or encounters.
Circuits (Interpassivities), 2018
Video: 12:00 min loop, LED screens, cement, sound system
Single film, 09:00 min loop
His use of lush, elaborated film scores plays a crucial part in creating an overall deceitful sense of narrative progression, and music rather than speech often serves as the sole means of communication between the protagonists of his unfathomable plots.
Jesper Just’s films are brief and compressed, yet leisurely and atmospheric all at once. In the editing process, Just adamantly cuts out everything extraneous, without concern for definitive style; conversely, each selectively chosen element in his films is an active protagonist, from the buildings to the actors featured.Though he has worked mostly in film thus far, Just says that his career and circumstances could lead him to work in other mediums.
“I’m very interested in the idea that a place can perform, just like people and characters perform,” Just says. His projects are research-based, with a particular interest in playing with perceptions of history, as seen through cinematic conventions. “I work very much with clichés and try to turn them upside down,” he says.