Jung Yoo – Scenographer & Performance Artist

Montage - 2nd and 4th of March in the Faculdade de Belas Artes de Lisboa

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When painting becomes performance, when performance becomes painting
Friday 2nd of March at 15:30
Sunday 4th of March at 15:30 

This is an investigation and study for a new methodology, looking into the trans-disciplinary aspects of social participation, performance, and plastic art; in search for an essence of Art in Performance and Performance in Art.

The piece consists of an extract montage of eight interviews done within a three month period. I have encountered over 24 fairy tales and legends, all recounted from the memories of a number of participants, through reading books, told by loved ones, seeing on the screen, or simply re-invented through the distortion of memory.

Each performer was given two basic gestures derived from the interviewees and, through a series of individual and group workshops, the character of each story arose, without losing the relevance to the initial participants memories and their gestures.

Within this ‘work-in-progress performance’ eight stories are present. The understanding and the interpretation of the details of each story we hear or read always changes depending on personal experience and momentary mood, a little like a chinese whisper. I will leave the interpretations to the viewers and hopefully they can create a new story of their own from what they have seen. 


Part One: bio-mechanical painting
15:30 on Friday, 2nd of March

Performers will be immersed, not only in an effort to bring to life the characters within the tales, but also as living mechanisms, or tools, in expressing the montage of the tales through paint. Selections of movements and manoeuvres are carefully cut, pasted and re-assembled to create directions and limitations for the performers’ movements within a 3-dimensional canvas and space enclosing the characters within.

Part Two: performance-derived installation
15:30 on Sunday, 4th of March

Part Two will consist in re-inserting the characters into the 3-dimensional canvas created in Part One. Having previously used the performers as live bio-mechanical tools for painting, these will be replaced by a sculptural representation of the characters they embed, resulting in a performance-derived installation where the performers are retracing, through a repetition of movements from Part One, the memories left imprinted in the canvas. 

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