Chōri Picnic ~Summer Roll~


 

Performance in the Park,
Tanz Im August Festival,13 mins

In collaboration with Shuntaro Yoshida, Maharu Maeno, David Jongsung Myung
 


This performance draws on the metaphor of the summer roll, a familiar dish in Berlin’s Asian restaurants, reimagining the body as an ingredient and the stage as rice paper. Referencing gymnastics practices rooted in World War II and East Asian colonial histories, the piece repeats and records these disciplined movements on stage as a way of collectively confronting their legacy.
Layer by layer, the performance accumulates textures through multilingual translation, choreographic research with nonhuman elements, and documentary techniques drawn from Butoh. Through these gestures, the standardized movements of gymnastics gradually dissolve into a shared rhythm that emerges between bodies, languages, and temporalities.
The premiere took place as a 15-minute outdoor performance in a Berlin park during the summer. Performed on a large white canvas, the audience was invited to sit, stomp, crumple, and write freely on the surface. This canvas could be interpreted as a kitchen table, a white plate, or a picnic mat—an open, unstable stage where performance, inscription, and participation overlap. The audience was asked to leave traces during the piece, and, at the end, the canvas was rolled up like rice paper. This act marked the completion of a collective summer roll, a performative recipe for the end of the season.




Performance at Daegu Art Factory,
We May Be Separated Like Islands But, 45 mins
Concept: Chōri Collective
Director: Yuni Chung
Performers: Chagrin Kim, Minkyung Jung, Sungjun Jung
Music: Minkyung Jung
Commissioned by Daegu Art Factory
 
The same score was later reinterpreted in winter, this time within the rigid architecture of a white cube. Performed by three Korean dancers, the work examined how discipline, as inscribed in the body through National Gymnastics, could be deconstructed, reassembled, and returned to its point of origin. The movements were continuously played on the gallery wall, creating a live loop of repetition and reflection. In contrast to the ephemeral, porous event of summer, this winter version sharpened the viewer’s awareness of spatial containment, institutional time, and the power relations embedded in bodily choreographies.