Exhibitions: Jesper Just: Romantic Delusions

  • 1st Floor
    Arts of Africa, Steinberg Family Sculpture Garden
  • 2nd Floor
    Arts of Asia and the Islamic World
  • 3rd Floor
    Egyptian Art, European Paintings
  • 4th Floor
    Contemporary Art, Decorative Arts, Elizabeth A. Sackler Center for Feminist Art
  • 5th Floor
    Luce Center for American Art

On View: Ocarina in the Form of a Seated Figure

This ocarina, a flute-like instrument, depicts a shaman sitting on a double-headed crocodile bench and wearing elaborate garments, a large, ...

Hiroshige's One Hundred Famous Views of Edo

Hiroshige's 118 woodblock landscape and genre scenes of mid-nineteenth-century Tokyo, is one of the greatest achievements of Japanese art.

    On View: Goddess Seshat

    Seshat, whose name means "female scribe," was the goddess of writing and record keeping. The Egyptians believed she had responsibility for r...

     
    Want to add this object to a set? Please join the Posse, or log in.

    close

    DIG_E2008_Jesper_Just_01_PS2.jpg DIG_E2008_Jesper_Just_07_PS2.jpg DIG_E2008_Jesper_Just_06_PS2.jpg DIG_E2008_Jesper_Just_05_PS2.jpg DIG_E2008_Jesper_Just_04_PS2.jpg DIG_E2008_Jesper_Just_02_PS2.jpg DIG_E2008_Jesper_Just_03_PS2.jpg

    Jesper Just: Romantic Delusions

    • Dates: September 19, 2008 through January 4, 2009
    • Organizing Department: Prints, Drawings and Photographs ?
    • Collections: Contemporary Art
    • Location: This exhibition is no longer on view in Robert E. Blum Gallery, 1st Floor
    • Description: Jesper Just: Romantic Delusions. [09/19/2008-01/04/2009]. Installation view.
    • Citation: Brooklyn Museum. Digital Collections and Services (DIG_E_2008_Just)
    • Source: born digital
    • Related Links: Main Exhibition Page
    Exhibition Didactics ?
    • Jesper Just Romantic Delusions
      The films by the Danish artist Jesper Just (born 1974) suspend the routines of everyday life so that important personal relationships can be renegotiated. Many of Just’s films take place in unusual settings—places with their own set of rules, where convention can more easily be bent or even overturned. Capturing the complexities and contradictions of emotional life, especially the fears and uncertainties surrounding sexuality and love, Just’s films map out the elusive dynamics of human interaction.

      The charting of affection has evolved gradually in Just’s work since 2002, often through the exploration of public and private displays of emotion among men: between lovers, between generations, and within a family. Later productions further develop these ideas of intimate space with a focus on active female protagonists. While commenting on gender politics and the possibilities of relationships that cross a generational divide, at the same time Just’s films present a broader human quest for a sense of individual identity.

      In Bliss and Heaven (2004), shown in this exhibition’s entry gallery, a young man follows an older man into a magic theater, an ambiguous space where identity is fluid, unexpected encounters occur, and feelings are more easily shared. In The Lonely Villa (2004), in the final gallery, an older and a younger man communicate through poignant songs, but tentatively, by telephone. While presenting yet another example of life’s many potential conversations, both real and imagined, their exchange is made both more intimate and more distant by that intervening electronic medium.

      Just’s new production, Romantic Delusions (2008), in the central gallery, was filmed in Romania; through a focus on the alienation and stigmatization of transgressive sexuality, a sense of not fitting in with the surrounding world, it reflects on broader issues of a contemporary political and economic climate. No Man Is an Island (2002), shown on a monitor and produced while Just was still a student at the Royal Academy of Fine Arts in Copenhagen, contains the germ of his later films: here, an older man dances freely across a city square, evoking an emotional response from a younger man and catching the attention of passing children; gradually, the children’s mockery gives way to their own attempts to follow the dance. In this potentially liberating leap lies the poetic power of Just’s films.

      In many of his works, Just adapts sentimental popular songs without irony or restraint, using them to unmask the vulnerability in many kinds of human relationships. Thus revealing the depth of feelings that people are often unwilling to acknowledge can change not only the film characters’ lives, but those of viewers, too. The films’ recognition of sentimentality—the appeal to tender emotions—as a powerful, positive, and even subversive force is central to the understanding of Just’s multilayered structures; he embraces the pleasures of cinema because the very sensuousness of the medium can bring forth a visceral response. By reaching out to viewers to activate their own memories and imaginations, Just offers a potentially transformative experience.

      Patrick Amsellem
      Associate Curator, Photography

    advanced 108,199 records currently online.

    Separate each tag with a space: painting portrait.

    Or join words together in one tag by using double quotes: "Brooklyn Museum."


    Recently Tagged Exhibitions

    Recent Comments

    "Hi Aimee, I think you mean Oreet Ashery? More information can be found in her profile on the Feminist Art Base: http://www.brooklynmuseum.org/eascfa/feminist_art_base/gallery/oreet_ashery.php?i=266"
    By shelley

    "Hi, I am trying to find the name of the artist who took and is in the photograph that follows- http://www.brooklynmuseum.org/opencollection/exhibitions/664/Global_Feminisms_Remix/image/216/Global_Feminisms_Remix._%7C08032007_-_03032008%7C._Installation_view. I believe the artist takes pictures of herself dressed as a man but then exposes her femaleness, as in the photo of her dressed as an Ascetic Jew exposing her breast. Can you help me find her information? Thanks in advance- Aimee Record"
    By Aimee Record

    "For more information on Louis Schanker and the New York Art Scene of the mid 1900's go to http://www.LouisSchanker.info "
    By Lou Siegel

    Join the posse or log in to work with our collections. Your tags, comments and favorites will display with your attribution.


    Prints, Drawings and Photographs

    Over the years, the collections of the Brooklyn Museum have been organized and reorganized in different ways. Collections of the former Department of Prints, Drawings, and Photographs include works on paper that may fall into other categories: American Art, European Art, Asian Art, Contemporary Art, and Photography.
    The Brooklyn Museum Archives maintains a collection of historical press releases. Many of these have been scanned and made available on our Web site. The releases range from brief announcements to extensive articles; images of the original releases have been included for your reference. Please note that all the original typographical elements, including occasional errors, have been retained. Releases may also contain errors as a result of the scanning process. We welcome your feedback about corrections.
    For select exhibitions, we have made available some or all of the informative text panels written by the curator or organizer. Called "didactics," these panels are presented to the public during the exhibition's run, and we reproduce them here for your reference and archival interest. Please note that any illustrations on the original didactics have not been retained, and that the text may contain errors as a result of the scanning process. We welcome your feedback about corrections.
    For select exhibitions, we have made available some or all of the objects from the Brooklyn Museum collection that were in the installation. These objects are listed here for your reference and archival interest, but the list may be incomplete and does not contain objects owned by other institutions or lenders.
    This section utilizes the New York Times API in order to display related materials in New York Times publications.