Performance by POLLUX (2026)

CENTER[O]POSITIVE unfolds between realities, at the point where repetition begins to break / break / break. Bodies are lost / found / possessed in a field of constant variation of rupture / longing / and renewal.

The performance-installation by POLLUX, the duo of Nick Dunston and Min Yoon, took play at Uferstudios in April 2026. The artists integrated post/butoh dance, banjo+feedback, experimental vocals, resonant objects, and live electronics into a field of constant variation. In this work, feedback—sonic, physical, visual—becomes an unstable archive, shifting perception live in real-time. Loops distort memory; rhythm collapses beneath its own weight. Improvisation activates erosion, accumulation, and rupture, allowing memory and perception to reorganize live.

CENTER[O]POSITIVE is inspired by magnetic charges and forces that are undeniably felt even if invisible. What is positive, what we move toward and against, what is truth, what is our shared reality — shifts in tension and finds temporary counterpoints. CENTER[O]POSITIVE comes with Nick’s experiences in creating instruments and sounds, and expands this into a sound installation with bodies. Min is searching for new risks, confinements, and subconscious impulses to emerge with repetition and feedback in post/butoh dance. Moving away and returning to folk expressions — our prior and future expressions — magnetizes POLLUX into new centers.  

Kinetic Costuming for CENTER[O]POSITIVE

Invited by Min and Nick to create the wearable elements of the piece, the concept of feedback was, again, central to the design. Practical considerations in the design process were comfort and range of motion; we went with a patchwork of neutral-toned knits to facilitate accomotate the activity of the piece, avoid gender, and access a post-human, lightly sci-fi aesthetic.

The element of kinesis: each performer wore a net of orange elastane tubes filled with steel ball bearings, which leapt and swung with each movement of the body. No moment can be perfectly still; action/reaction reverberates through material, through sound as the ball bearings hit the floor, and through video loop on the projection wall. The tubes visually mirror the tangles of wires from the audio hardware, while behaving as agents of delay. Because of their unpredictable movement and responsiveness, each performance was differentiated by the costume as much as by artistic improvisation; sometimes more tangled and sometimes untangled, sometimes louder in moments of surface impact, sometimes draping a new way. Their movement tells the story of feedback within a chaotic system.