- 2026
Sun and Moon Rotate to This Infinite Present Moment,
The 99 Verbs and Wishes for You, My Dear,
and to Our Nomadic Life (Rite) -
2026a certain necessity, concrete and durational actions
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202599 Verbs and Wishes
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2024Silent Flight (Part II)
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2024it's factual, so vast
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2024you and me, we grant this portrait the marvelous
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2023Silent Flight
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2023Compound Rite
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2022Field Record 5: Sun, Moon, You
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2022Compound Rite: Utopia or Oblivion (II)
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2021Field Record 4: Every Motion is a Ritual ᠲᠠᠯᠠᠪᠠᠢ ᠵᠢᠨ ᠲᠡᠮᠳᠡᠭᠯᠡᠯ 4
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2021Drift Upwards, Fall Downwards
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2021Far Journey, Homeward
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2021Doppelgänger
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2020In Another Green World
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2020Can You See Me? Can You Say Something?
- 2019Field Record II
- 2019Field Record 3
- 2019Compound Rite: Utopia or Oblivion
- 2019bare mind create action create bare mind
- 2019Oracle---------Alt Text for the Future
- 2018Field Record I
- 2018In Another Green World, She Was a Visitor
- 2018bird, bird
- 2017Reaching Nowness
- 2016Cloud Image
- Early Works
2016 / 05:00 / choreography
2019 / 15:48 / choreographic performance / live sound
Field Record II is an interaction between rigorously structured improvised movement and sound materials, forming a resonant field together with six dancers, two sound artists, three sides of the audience, and a historical church space. It uses sound-processing software to treat voices and sounds produced by everyday objects in a composite manner. I intentionally select pedestrian motion, which is essentially human action, used to express complex relationships. The dancers respond precisely to the multi-layered tasks I have designed, one of which is to design a “vanishing point” by reducing the movement scale. Ultimately, I attempt to convey the chaotic essence of the complex systems that attract me through an unconstrained internal structure. The work’s non-technological feel yields a minimal quality in Judson Memorial Church, yet it does not empty the space; instead, it makes the space a field filled with simple, vivid, and subtle elements.
A playground, micro-movements, a sense of sharing existence, and the co-existence of humans and the environment are all components of the work.
Field Record is a series of artistic research centered on motion, landscape, and interactive materials, and has been my focus from 2017 to 2019, continuing.
In my practice, a trend of “returning to nature” has begun. This is related to my birthplace and the cultural roots I hold in my inner sense of identity.
Over the past decade I have been influenced by the mathematician-physicist I interact with daily, which has deepened my understanding that nature holds both aesthetic and scientific realities. I long to present these facts in a way that is not overly “man-made.”
My understanding of my position in the world often arises from my relationship with landscapes and spaces—the sense, temperament, and who I am. In this exploration I repeatedly ask: How do natural sounds form an inner landscape for the body? How does landscape shape my sensations, aesthetic choices, and concrete actions? How can I authentically render the delicate correlation between choreography and landscape, space? How to create a readable yet not overwhelming, immersive experience? How can I make the invisible qualities visible?
I love this saying from Nancy Holt: “What I was doing over and over again was manifesting outwardly in physical form the universe as it is within. They interrelate - the outside world is a reflection of the inside world and vice versa.”
Choreography: NiNi Dongnier
Performed by: Isa Spector, Nikkie Samreth, Maxine Flasher-Duzgunes, Sarah Amores, NiNi Dongnier
Sound: Tiri Kananuruk, Jake Adams
Photo: Ian Douglas, Sebastián Morales Prado
04/2019 Movement Research at the Judson Church, Judson Memorial Church, New York City