Vanishing Point, 2018

Live performance (00:30:00) and installation

Werkartz Gallery, Los Angeles

 

Fragments of memories come together into a membrane over absence. Only the movements of the body can touch the membrane. Again and again the attempt to touch, to press, to rub, to mark.

Vanishing Point documented and reenacted the life of Choi Seung-hee (1911-1969?), a choreographer who resisted the Japanese colonial period through reinventing traditional Korean dance. The theater-dance performance consisted of a live performance (30 minutes), a video projection (12 min. video projection in loop) and an installation on the floor made of earth and water encircled by cement blocks.

Vanishing Point looked at the human body in a place and time of restriction and crisis. It told the story of a dancing body at a vanishing point of its history battling an impossible fight to remain visible, beautiful and strong . The movements represented its desperate struggle to free itself from its choreographed existence. The once beautiful body was soon covered with dirt and sweat, crying and morphing slowly into an estranged, hideous and horrid figure that created an uneasy energy among the audience. The use of the body in this work as an aesthetic medium was not a privilege, but aimed to represent a tragic story such as an act of resistance, a method of urgency, a cry for help or a means of survival. It ultimately aimed to show the need to freely express during times of repression when the human body is the last radical media left to us.

 

Video stills from the live performance: 

 

Installation images: 

vanishing point natalie mik
vanishing point natalie mik
vanishing point natalie mik

 

Photo and video documentation by Christian Alvarez