Maj Britt Jensen

Jonathan Miralda y Maj Britt Jensen /  OFFSIDE! - we have a swimming pool, 2007

Photographic documentation: Eduardo Olivares





D: Everything begins at a tennis court conceived by Maj and John, a space that is the result of the encounter between these two people-artists-players. They play and set the rules. The main driving force is each of their own creative processes that sign each one of the moves.

L: …the way I understand it is that this is a cutting so that another reality is carried out. Up to the point of facing it by breaking with the reflection of oneself as the only reference, if the other one is recognized, if the space is given to the other, then there is willingness or eagerness to create this architecture, court, stage. To look at the other one is to build the space (game of distances) of desire and start being (oneself).

D: Both of them define the rules, and the difficulty and danger of the game lies in that the challenge is not about one deciding and the other one assuming, or one winning and the other one losing, but precisely, from the difference between their own processes, to achieve a dialogue in which not only the words are important.

L: …the court is the territory for giving in, for seeing and listening. A work must be done in order to keep solid this delicate area that may explode at any moment; here I can see that the court is not a place for combat; the fighting was previously overcome within the duration of the game. The game is over. How are we to build other courts?

D and L: One has to be conscious that this game is a lie, but in order to play, one has to believe in the reality of the game even though it is a lie.

D: …the court is the space where they place their sensations, moods, thoughts, desires. We can also build our own court and I believe that this is not even something to be stated, but since the very moment when we start playing, it (the court) acquires a real shape and starts existing. Our court is fictitious and real at the same time.

L: It will be to reunite from our intimate experience with language in order to discover ourselves as individuals, one in front of the other. To dialogue will be to say together what was said and was not said like individuals in all its scope and under all consistency. It will be like articulating a law that allows us in our infiniteness and multiple possibilities, to keep on learning and unlearning from each other, one into each other.

D: …if our reason for dialoguing is Maj and John, then we will have to understand each other from our condition. We can fathom and feel them in movement, fixed and shifting, giving us the possibility of building a net of directions; I believe that at least for me this is the point, to generate directions.

L: Now, in order to make a move with you I ask you: Is this space-between the pure meaning that Maj constantly talks about in her work, that “between” that emerges between the work and the beholder, the “between” that widens more and more between them (Maj and John), and at the same time keeps them near to each other?

D: Both of them want to be inside each other, but outside each other as well, and thus this “between” that generates but does not determine is built. Meaning as a “between”, an abysmal between, a chasm that never closes though the intent might be tough, a “between” that maintains desire alive, that builds directions, that yearns for the understanding of this unknowing. This “between” to be considered more as the building of meanings, I understand it within the polarity of meanings that emerge. I answer to you adding that even if I only see the meaning as a small part of the diverse directions that can exist, if this “between” ceased to exist, if the opponents in the game absorbed it completely, if the other’s processes were assimilated altogether, would there still be any desire?

L: Neither the court nor the game itself split, nor represent a symmetrical approach, but an asymmetry, since the competitors are artists with completely different subjectivities. The game is generated mainly by an asymmetrical process between two people that carry out an effort-competition, in order to assimilate their respective differences. The game does not lead to establish a balance between them, but to regulate the asymmetry according to the duration of the encounter in this determined space, which is the court. Changes and re-changes of perspective turn the glance into desire.


Diana María González

Lauro López-Sánchez M.

Camera: Andrés Villalobos