|e s s a y s a b o u t : v i b e k e j e n s e n|
|The Body, The City, The Eye of The Beholder : Jeremy Welsh, 2001|
Vibeke Jensen emerged as an artist with a keen sense for the psychogeographic mapping of the urban scene, and its deconstruction and reconfiguration within the space of digital information.
In particular, Jensen has investigated the practice of surveillance, recognizing this as a central structural element of advanced urban cultures.
Vibeke Jensen herself could quite easily be a character in Ballard's psychotically fragmented narrative "The Atrocity Exhibition", avidly assembling the elements of a cryptic language of lost spaces, scars, wounds, damages memories and fractured visions.
|BIG BROTHER IS (really) WATCHING : Koan Jeff Baysa, 2002|
The surveillance videos of Vibeke Jensen poignantly capture the substance, evanescence, and coded behaviours of the quotidian street.
In the control room with its quintet of monitors, the surveillance mode is amplified. People entering this area trigger a motion sensor which activate a video camera that intercut images of the "intruders" onto a large screen, transforming the passive experience into one that is interactive and life-sized.
|Diverse Weaponry : James Sherry, 2001|
GUNshot makes it clear that, while there is an ideology always at play among diverse alternatives, diversity implies co-existence...
The viewer is moved to elucidate rather than evaluate...
Jensen's focused enlargements subvert ordinary metaphors for what is deadly, dangerous, seductive, lovely, vital, and further topple what one describes as beautiful, alluring, enticing, perilous, fatal.