CENTER[O]POSITIVE
premiere by POLLUX at UFERSTUDIOS, BERLIN 2026
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POLLUX =
MIN YOON (post/butoh dance+vocals)
NICK DUNSTON (banjo+feedback)
+++ in collaboration with projections by Pablo Garretón, costume design by Lou Croff Blake, performance film/photo by Mayra Wallraff, marketing photo by Theo Ilichenko
+++ marketing / press by Angela Fegers / Apricot Productions
+++ kindly supported by Musikfonds e.V with funds from the Federal Government Commissioner for Culture and the Media (BKM)
POLLUX, the sound-and-post/butoh dance duo of NICK DUNSTON and MIN YOON, performs their first evening-length work, CENTER[O]POSITIVE. Embracing the greater sum of their interdisciplinary practice, the live feedback performance explores the (in)stabilities of memory, perceptions of shared reality, and possession and lostness at the edges of breakage and constant renewal.
Feedback — sonic, physical, visual — becomes an unstable archive, shifting perception live in real-time.
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POLLUX, the duo of Min Yoon and Nick Dunston uses structured improvisations within interdisciplinary contexts. Dunston plays with various forms of feedback, Yoon with butoh dance and improvisation. Notions of physicality, communication between bodies, and performativity are central to the duo.
Feedback — sonic, physical, visual — becomes an unstable archive, shifting perception live in real-time.
+++
POLLUX, the duo of Min Yoon and Nick Dunston uses structured improvisations within interdisciplinary contexts. Dunston plays with various forms of feedback, Yoon with butoh dance and improvisation. Notions of physicality, communication between bodies, and performativity are central to the duo.
Dance writer, Alice Heyward, writes with precision about CENTER[O]POSITIVE:
“The artists generate circuits between movement, instrumentation, and vocalisation, in which outputs return and re-enter the circuit to produce what they term “an unstable archive.” Signals are driven into escalation, accumulating into dense, volatile loops of movement, sound, and image. These unfold through a delayed web of call-and-response, unsettling conventions of controlled equilibrium, measurement and synchronicity. Effects increase their causes, amplifying change without seeking the climax of completion.
...
Yoon’s skeleton, a tensegrity structure, seems to deform and reform within the charged field, its effects rippling back outward into space through micro-shakes, expanding as a dense, resistant presence. Piezoelectricity is the electric charge that accumulates in certain materials, including bone in our bodies, in response to applied mechanical stress. The performers’ bodies are moved differently by the shared force field of colliding signals, both in constant motion. Dunston’s movements are often larger and faster, pulsing and rebounding in elastic cycles as he navigates spatial frequencies through contact with equipment. Yoon’s movements, emerging from a ‘post- butoh’ practice, are slower, registering the pops and shrieks of the sonic field in delayed, sequenced gestures. The relationship between the two performers doesn’t feel controlled by tight choreographic codes, allowing each other’s idiosyncrasies and differences to take space, connected, not predefined by the other.”
- Alice Heyward
photography / film by Mayra Wallraff