JETTE HYE JIN MORTENSEN b. 1980

Visual Artist and Filmmaker.

Re-molding collective frameworks from a minority perspective:
I work interdisciplinary with a research and concept based process, the-
matically focusing on cultural translation strategies in relation to identity
and altered restagings of ideological frameworks in order to expose and
superimpose underlying mechanisms.

My research is often transformed into partitures or scripts as the founda-
tion for many of my projects. These partitures are then interpreted by my-
self or others in different contexts as installation-, video-, performance- or
sound works. As the case with the partiture-based project ”KL 868 / The
Quasi-Biennial Gravitation Rupture of 1981” (2009) where I link global poli-
tics, scientific theories and autobiographical research into semi-scientific/
fictional quests for logic in the midst of conflicting paradigms. 

I always seek to challenge my practice with extensive collaborations with
other cultural producers, together forming temporary platforms for investi-
gation and production, like in ”New Songbooks” (2006) and ”Black & White
Transcending Partiture” (2007). Or provide myself as a performed persona
or artist signature like in ”Tell it the way they tell it” (2009). What interests
me, rather than condensing works into idiosyncratic aesthetics, is to juxta-
pose, cross-fertilize, make comments and create gaps that can contain
not only coherent discourses, but also ambiguity and chance. This can be
seen as a non-coherent (visual or spoken) language that conveys an indi-
cation of a liminal state, the "pigeon or creole of The Other" rather than a
literal meaning in accordance to an existing (visual or spoken) hegemony
or discourse.

How to overcome destined models for performance:
With a background in theatre, music and film, I experienced how the circu-
lation of stereotypes strongly limited the roles I could inhabit as a minority,
not only in life, but in a fictional space too.
Growing up as a racial minority in the context of northern Europe, it is not
only a strong stereotypical reduction that is at hand, but more so, almost
no public, visual or historical representation at all, and a lack of collective
interest in acknowledging this, beyond the negative discussions around in-
tegration and immigration problematics.

”Why is adoption interesting?” Why is adoption NOT interesting?
The un-negotiated idea of ’individualisation’ applied to the case of inter-
cultural adoptees seems to highlight how ideas play into intercultural hierarchies and the general accept or rejection of critique. The adoptee,
cut off from a personal history and re-written into an extremely one-sided,
ideologically perceived idea of intercountry adoption, the effects are repres-
sed, lived experiences, and reductions of every critique these ideas meet
into ’personal, extraordinary encounters’. There is no room for a structural
analysis. Counter arguments are often powerless, since the adopted subject
is lacking:

1. information that serves as proof for critique of this system, being scien-
tific research conducted by a central institution and personal records

2. the country of origin is often incorrectly perceived as poor and culturally
inferior, resulting in a gratitude complex, projected upon the adoptee

3. an adopted singularity is often growing up socially isolated from subjects with similar experiences which could create an empowered identity of being
a minority, rather than a single derivation from a normality.

Does a lack of access to written history result in a lack of possibilities and
rights to define oneself?

BACKGROUND
Born 1980 in Seoul, South Korea and named Chung Hye Jin. Adopted to Denmark
in 1982 and named Jette Breum Mortensen. Changed her name to Jette Hye Jin Mortensen and was reunited with her Korean family during the early 2000s. She
identifies herself as being part of two families, 4 parents and transcultural.

WORK & EDUCATION BIO
Currently lives and works in Copenhagen, Denmark.
MFA and BFA graduate from The Royal Danish Academy of Fine Arts in Denmark.
Co-founder and member of the Swedish/Danish artgroup UFOlab (5 members):
UnidentifiedForeignObjectLaboratory” .
Member of YNKB, initiating activistic and educational art forum, tv, festivals and events.
Trained in classical and modern piano and singing and have worked professionally as a singer and backing singer in many contexts.
Studies and experience in animation, performance, scenography and anthropologi-
cal theatre at the Odin Theatre, ISTA, and acting, stanislavskij technique and film
production at The Drama and Film School in Broendbyoester.
Master Class in Storytelling and Production w/ Elliot Grove/Raindance Film Festival and documentary filmmaking at Dox Connected/The Danish Film-
workshop. Works as a freelance director, editor and producer and owns the film-
production company BamBoo Film. Currently directing the feature documentary
Adopnation, supported by The Danish Filminstitute, DOX Connected.