Maj Britt Jensen

Jonathan Miralda y Maj Britt Jensen  /  HISWOMAN, 2008

Project: active - passive / photographs in different formats, polyptychs based on diptychs, the modules, the composition, actions in front of the photographic camera, the sequentiality of actions, the other as the material for work, the other as an element of the composition, when one is active the other one remains passive, active / passive, passive / active, active / active, passive / passive, the feminine / the masculine, the grid, the stage as a blank page, / montage: accumulation, showcase.

Days disposed around.


Every time we order something, something is disordered. Maj and Jonathan take care of that with a good deal of enthusiasm and humor. They work on transposing time and space in order to place their transvestied bodies, a work which in them becomes delicate since the rules are immediately im(posed) over this space and this time that have been delimited.

Exercise: to design a strategy which will have to be dissected through the planes, objects, lines, actions, the transformation towards the other from oneself. Rules of the game. Then the rules are loosened in their most vulnerable spot (such is the task: to find that spot).


Perhaps that is the reason why they like the rules, because their fragility, their fissures, their thresholds have to be sought. They order in order to collocate, to generate a space that can be dwelled in the other, turned into an event, and not anymore in a sheer body, nor anymore in pure essence. A body disposed for, a body that can be manipulated, in order to be reordered in a disposed setting (ready now) for it. That is where the game fits in, and just like in all games, the possibility of risk.


In this disposed space, geometry is activated, color is imposed, line runs along a plane which is background and which is space… then the quotidian objects lose their quotidian nature, their natural position in/on the world.

Disposed space, disposed work from geometrical conditions, shapes that in their journey encounter a body that inhabits them, with the skin fold that is drawn amid the composition.

Temporary order towards permanent chaos. From noise to silence, from silence to the glance that never looks into the camera’s eye.

Disposition of things: as beginning, not as (the) end.

Aim: to approach the other, his woman, he from her, she from him.


Events that, as spectators, are revealed to us from the distance that the camera needs in order to show the borders of action, the borders of things turned into image, in a vocabulary from which other times and spaces are named, where they exist because of what they are and because they are what they want – they-can-be: here, now.

Here: gravity, lightness, weight, emptiness, closeness, porosity, silence, tension… a body that falls, another one that rises.

Now: to dilute the quotidian sense in order to propose other mechanisms of glances before the other, movements that make sense right there where we naturally lose it.


At the beginning of this series of works, Jonathan is Jonathan and Maj is Maj. Then they temporarily stop being such through a conscious metamorphic process towards the other. At the end of the series, Maj is Maj and Jonathan is Jonathan. In this game, I wonder if the things involved in it (objects, planes, drawings, etc.) suffer as well this metamorphosis where it is not necessary to alter the physical nature of things in order to take them temporarily into another state, but to take part in the game in which, as we know, things permanently stop being what they are.


Luis Felipe Ortega / September, 2008