Around 2011, Binna Choi, director of Casco, Utrecht, had been invested in the “Grand Domestic Revolution,” titled after Dolores Hayden’s 1982 eponymous publication. After the passing of a friend, artist Mieke Van de Voort, who had the primary role in Summer days in Keijo—written in 1937, I proposed to Binna to collaborate on a performative piece in a residential setting in Amsterdam, devoid of press release, justification, documentation, or audience (a few years later, Binna wrote about this experience in another publication, and named it Yuwol).

Subsequently, I made a performance diametrical to Yuwol in the same domestic setting, Some Left, co-produced with If I Can’t Dance, I Don’t Want to Be Part of Your Revolution. In Some Left, I deliver the news of parting to those aloof to the pain of parting. It is not about death, inevitably a personal experience. It is about how that death appears to others.

I used two floors with a long steep stairway that connects the living space and the attic space in a typical residential apartment unit in old Amsterdam, in which the audience is divided and made to coalesce to experience storytelling in different settings, directional, performative to intimate and one-on-one.

Choi, Binna, "Unhurried Efforts, Rehearsing Death," text in "Talk or Sing," Samuso, 2014

최빛나, "서두르지 않는 노력, 죽음의 리허설," 말 아님 노래," 사무소, 현실문화연구, 2014