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임은정
약력
전시/퍼포먼스 - 2024 개인전 ⟪Housing, Possession, Gathering⟫, 더레퍼런스 - 2023 SIDance Tomorrow ⟨Lump of Rice⟩, 서울남산국악당 참여 - 2026 서울시립 서서울미술관 개관특별전 SeMA 퍼포먼스 《호흡》 라이브 퍼포먼스 이신후 ⟨두 다리, 몬스터와 인간들⟩ - 2026 리움미술관 《티노 세갈》 라이브 퍼포먼스 ⟨무언가 당신 코 앞에 나타나게 놔두는 대신 춤추는 브루스와 댄 그리고 다른 것들⟩
작품소개
연출·안무 임은정
퍼포머 임은정
텍스트 임은정, 지영서
드라마터그 윤자영
⟨Shoot⟩
13 June 2026 (Sat), 2PM
Seoul Dance Creation Center
Just as the title ⟨Shoot⟩ holds two meanings — to photograph and to fire — this work focuses on the voyeuristic gaze and asks: at what point does the act of seeing become power? Does the body exist only as the various socially imposed signs draped over it, or can it exist as an individual body, as itself?
The work brings to the fore the specific parts of the body that have long been read as sexual or have more sexual connotations than other body parts — the breasts, the pelvis, the hips. Yet the performer's concern lies not in the meanings cast over those parts but in the materiality of the body itself. Within a score of repetition and spatial constraint, movement recurs, and the body gradually tries to return to a state prior to sign. Whether this is fully possible cannot be known. But should there come a moment when the female body, so long consumed as a sexual sign, is read in an entirely different context — that is the subversion this work intends.
That subversion does not occur in the performer's body alone. The performer moves within a space enclosed on all sides by fabric, and the audience looks inside through holes pierced in the cloth. The moment one begins walking to stand before a hole, one’s body has already entered another's gaze. Seeing and being seen happen at once. "How we look" and "how we are looked at" are everyone's problem. ⟨Shoot⟩ is not a place for consuming images, but a place for facing oneself at the end of the gaze.
*The title ⟨Shoot⟩ is borrowed from an interview with the artist Black Jaguar included in Jinshil Lee book 『Love and Ambition: Time Differences in Contemporary Korean Feminist Art』.
*The texts used in the performance were excerpted and reconfigured from the poetry of Kim Hyesoon and writings by Eunjoung Im and Yeongseo Jee.
Director·Choreographer Eunjoung Im
Performer Eunjoung Im
Text Eunjoung Im, Yeongseo Jee
Dramaturge Jayoung Yoon
Eunjoung Im
Eunjoung Im is a choreographer, performer, and video artist working across performance, video, and installation. She begins from a foundation in dance but draws in performance, video, image, objects, and installation to sharpen the clarity of her themes. Her work arises from a question: Under what coditions, how does the female body become treated as an object - reduced to function or value, rather than an individual human being? Its starting point was the recognition that the female narratives she found in the shamanic rites of her hometown, Abai Village, and the structures of sacrifice within shamanistic lore, overlap with the reality of women today. Within this, Im explores how the gaze of the other operates as a form of power.
For the artist the body is not only form, gesture, shape and movement but also an archive carrying historical and environmental memories. She understands making a work not as "composing" choreography but as "creating an environment." A body gives rise to something entirely different depending on the conditions it is placed in. Which body, when, where, how — and under what conditions it is placed — all of this becomes the very content of the work. What happens in real time between audience and performer within that environment, that singular liveness, is what she calls the work.
