‘Choir of Kin’, Immersive, Audio-Visual Performance/Installation, as part of a collective Transformative Narratives(founded by Tony Wagner and Lena Kuzmilch)
Imagetanz Festival 2024
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Imagetanz Festival 2024
Brut, Vienna, Austria
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Credits
Photo by Marcella Ruiz Cruz
Costume by @amaaenastudio
Choir of Kin is an immersive, audio-visual performance/installation by the collective Transformative Narratives. In the hall at brut nordwest, the voices of numerous lifeforms come together in a fictional habitat. The piece applies a queer understanding of kinship to research Choir of Kin is a resilient, yet dissonant system attempting to deal with ecological and cross-generational trauma.
Full Credits:
https://brut-wien.at/en/Programme/Calendar/Programm-2024/03/Transformative-Narratives-Lena-Kuzmich-Tony-Wagner-Guests
Photo by Marcella Ruiz Cruz
Costume by @amaaenastudio
Choir of Kin is an immersive, audio-visual performance/installation by the collective Transformative Narratives. In the hall at brut nordwest, the voices of numerous lifeforms come together in a fictional habitat. The piece applies a queer understanding of kinship to research Choir of Kin is a resilient, yet dissonant system attempting to deal with ecological and cross-generational trauma.
Full Credits:
https://brut-wien.at/en/Programme/Calendar/Programm-2024/03/Transformative-Narratives-Lena-Kuzmich-Tony-Wagner-Guests
‘TOUCHED’, Performance
This performance is a combination of Hyeji Nam’s original dance performance “TOUCHED-techno flesh”, with her sound piece"pleasing harmony" where she uses AI generated sounds as the core material. In this integrative performance titled “TOUCHED 2-pleasing harmony," Hyeji Nam orchestrates a mixture of flesh-inspired poetic gestures, sound experimentation, and the performative use of artificial intelligence in music. Anchored in the rhythmic foundation of 4-to-the-floor beats, the piece explores the rich intersection of music technology and the innate mechanisms of the human body.
This performance uniquely combines pleasing harmonies and dissonances generated by AI, triggered by the tactile interaction of Nam's flesh and her vocalizations. These sonic elements, encompassing both unidentified voices and Nam's own, are intricately woven together, underscoring the artist's role as a live conductor. Using her body and movement, she navigates through space, her energy guiding to produce sounds that harmonize, diverge, and reconvene in unexpected ways.
CLUB LIASON, Gwangju Biennale, Austrian Pavilion, 2024
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This performance is a combination of Hyeji Nam’s original dance performance “TOUCHED-techno flesh”, with her sound piece"pleasing harmony" where she uses AI generated sounds as the core material. In this integrative performance titled “TOUCHED 2-pleasing harmony," Hyeji Nam orchestrates a mixture of flesh-inspired poetic gestures, sound experimentation, and the performative use of artificial intelligence in music. Anchored in the rhythmic foundation of 4-to-the-floor beats, the piece explores the rich intersection of music technology and the innate mechanisms of the human body.
This performance uniquely combines pleasing harmonies and dissonances generated by AI, triggered by the tactile interaction of Nam's flesh and her vocalizations. These sonic elements, encompassing both unidentified voices and Nam's own, are intricately woven together, underscoring the artist's role as a live conductor. Using her body and movement, she navigates through space, her energy guiding to produce sounds that harmonize, diverge, and reconvene in unexpected ways.
CLUB LIASON, Gwangju Biennale, Austrian Pavilion, 2024
Lee Kang Ha Art Museum, Gwangju, South Korea
Gwangju Biennale, Austrian Pavilion, 2024
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Gwangju Biennale, Austrian Pavilion, 2024
‘Fly like a worm, sing like a snail - however they left, with the rattling sound of the bones breaking down’,
Multi-media Installation with Sound, and Performance
2021
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Multi-media Installation with Sound, and Performance
2021
das weisse haus, Vienna, Austria, 2021
Credits
Photo by Joanna Pianka
Performers: Anna Mutschlechner-Dean, Boeser Reupel, Mirabella Paida Mwoyo Dziruni
3D graphics by Maximilian Prag, Aliya Nurgaliyeva
Dwelling on the liminal space between word and perception, Hyeji Nam’s multi-faceted work explores the
conditions for sensing and engaging with the world. Unfolding in video, text, qr-code, photography and
performance, Hyeji Nam’s installation traces the contours of perceived intimacy with one’s own body and proposes
a speculative vocabulary for an embodied, poetic language of intimacy. Hyeji Nam’s accompanying poem is also
available on www.dwhx.space
- das weisse haus
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Photo by Joanna Pianka
Performers: Anna Mutschlechner-Dean, Boeser Reupel, Mirabella Paida Mwoyo Dziruni
3D graphics by Maximilian Prag, Aliya Nurgaliyeva
Dwelling on the liminal space between word and perception, Hyeji Nam’s multi-faceted work explores the
conditions for sensing and engaging with the world. Unfolding in video, text, qr-code, photography and
performance, Hyeji Nam’s installation traces the contours of perceived intimacy with one’s own body and proposes
a speculative vocabulary for an embodied, poetic language of intimacy. Hyeji Nam’s accompanying poem is also
available on www.dwhx.space
- das weisse haus
Exhibition View from Group exhibition „connections unplugged, bodies rewired“
Photo by Theresa Wey
mit Johanna Bruckner, Debby Friday, Daniela Grabosch, Daniela Grabosch + Anna Thomas, Rindon Johnson, Sara Lanner, Martina Menegon, Hyeji Nam, Davinia-Ann Robinson und Ningli Zhu
kuratiert von Frederike Sperling
360 Video with Sound and Text
The Bones, 2022
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The Bones, 2022
Credits
3D graphics by Maximilian Prag
3D graphics by Maximilian Prag
Poster exhibited at
‘40 Years Anniversery’, Foto Galeri Wien, Vienna, Austria
