Jesper Just (b. 1974, Copenhagen) creates films driven by an ongoing interest in how the mediation of space defines human interactions. "Servitudes" (2015), for instance, explores the tension between femininity and autonomy in postmodern society. A young girl (Hemingway) sits alone in an office eating corn; her hands are cuffed by Continuous Passive Motion (CPM) devices, which both aid and hinder her ability to eat. Building on this idea of obstruction and integration, herein lies the concept of servitude not as the logic of the individual, but rather, as the inherent conundrum of the social mechanism at large. At will but restrained within the fractured space of neocapitalism, the subjugated cannot criticize the system because her very own existence presupposes its existence. The corn serves as a metonymy of the political system characterized by GMOs and capital gain. The woman, too, has been modified and manipulated – a docile body in a power play that is both hidden and transparent, extended into her interaction with the audience bordering flirtation and apathy.
傑斯柏·查斯特（1974年出生於哥本哈根）的諸多影像作品藉由空間闡述人際互動現象。以《奴役》（Servitudes, 2015年）為例，影片探討了後現代社會中女性與自主性之間的緊張關係。屏幕裏的年輕女孩（德莉·海明威）獨自坐在辦公室裏吃玉米，雙手受連續式被動關節活動器（CPM）鉗制，活動器看似輔助卻又妨礙其進食。以阻礙與同化為出發點，奴役的概念在此不僅是針對個人而言，而是指向整個社會機制：新資本主義社會中的馴從者，儘管意志自由，但仍受限於社會形態的斷裂空間，其自身的存在正是由此而來，所以她無法批判該體系。玉米借喻以轉基因生物（GMOs）與資本收益為特徵的政治制度；女孩實則也被改造與操控—— 一個身處既隱蔽又公開的權力遊戲中的順從者，而遊戲也延展至她與觀眾忽冷忽熱的互動中。