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고래사냥 Whale seeking and loving in my darkness by Gyun Hur – Danspace Project
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고래사냥 Whale seeking and loving in my darkness by Gyun Hur

August 10, 2022

A sepia-colored photograph of a wave crashing shoreline frames an overlaid image in the center, it is the same image colored differently in white, charcoal, and blue hues. Onto the photo, a pen drawing of mayfield brooks (dancing in Sensoria: An Opera Strange) is walking across the rocky shore with their arms outstretched and their hair hanging in front of their face.
고래사냥 Whale seeking and loving No.1, watercolor and pen drawing on paper (9” x 8”), digital montage, 2022 | Korean Image Archive

 

Danspace Project invited interdisciplinary artist and educator, Gyun Hur to attend the Platform 2022 performances and respond. The following piece is the last of 3 offerings from Hur, in response to the Platform, and includes words, images, and poetics prompted by mayfield brooks’ Sensoria: An Opera Strange.

 


 

“우리들 사랑이 깨진다 해도

모든 것을 한꺼번에 잃는다 해도

우리들 가슴속에는 뚜렷이 있다

한마리 예쁜 고래 하나가

 

[translation]

Even our love breaks

Even we may lose everything at once

In our hearts, there surely is

One beautiful whale.” [1]

 

“Where is the whale

My heart is always broken

Where is the whale

I wanted to be a gospel singer

Where is the whale 

I don’t know what i’m doing but i’m trying to actually weep for my ancestors

Where is the whale (wail)

Where is the whale (wail) refrain

Where is the whale (wail)

Where is the whale (wail) refrain” [2]

 

A sepia-colored and edited photograph of a group of Korean women, holding babies, and smiling as they look at a man taking their photo. One woman is breastfeeding. At the center of the photo is a drawing of a green cabbage and below that is a white bar with notes written in Korean.

고래사냥 Whale seeking and loving No.2, watercolor and pen drawing on paper (9” x 8”), digital montage, 2022 | Korean Image Archive

 

If you were to ask me if I ever dreamt of a day of full healing,
I would smirk and spit you warm cabbage leaves chewed, softened from my colostrum.

 

I would shout and insist that you find that whale forever lost.

Where is the whale, 

My love, my everything.

 

I dreamt being sucked into that turquoise blue, whale seeking and loving in my darkness.

고래야, 어디있노

내 사랑, 나의 모든 것

 

When

love is made,

we sink ourselves in relief and

we tell ourselves these lies that we can delight in such a promise

of full healing, 

that forever-ness may be possible.

Hallelujah. 

 

Two images side by side: on the left is a sepia-colored photograph of a Korean woman holding a ball and net over her shoulder as she walks forward, a meandering line of other people walking behind her. On the right side is a hand drawn design, reminiscent of the center set piece of mayfield brooks’ Sensoria: An Opera strange, a cluster of knotted hair-ties adorned with colorful plastic balls.

고래사냥 Whale seeking and loving No.3, blue pea flower tea (made by mayfield brooks) and pen drawing on paper (18” x 11”), digital montage, 2022 | Korean Image Archive

 

You tell me now, 

Oh the whale, I saw it.

Way deep down her throat and bosoms, 

The daughter of that poor blind man swallowed that whale

And dived herself as deep as she could in the East Ocean next to that island no one claimed. 

And we have not seen her or the whale for about 2 years. 

Oh that whale… my love, my everything.

 

A sepia-colored photograph of a group of Korean people smiling and sitting on a beach, rolling hills behind them. Overlaid at the center of this image is another image, a still of a video of mayfield brooks performing in their work, Sensoria: An Opera Strange at Danspace Project. Mayfield stands at the center of the St. Mark’s church altar, surrounded by siny black, silver and gold material, they are in a crouched gesture, throwing the shiny material overhead in a fast sweeping movement.

고래사냥 Whale seeking and loving No.4, digital montage, 2022 | Korean Image Archive and Sensoria: An Opera Strange, mayfield brooks, Danspace Project.

 

나의 전부였던 나의 사랑, 나의 고래는

그 장님의 딸, 심청이의 목 메인 가슴속에 있다하니

깜깜한 어둠속에서 

꺼이 꺼이 운다 한들

나의 가슴속에서 떠나가버린 그 고래가 돌아오지 않으ㅡㅡㅡ듯 하다.

 

한 맺힌 노래가 창이 되고

콧물과 눈물이 머리카락과 범벅이가 되어

젖살 부른 가슴을 매어 잡고 

나의 잃어버린 사랑, 나의 고래를

무릎으로 질질 끌어가본다. 

 

[translation]

 

My whale, my love, my everything –

Now buried in that blind man’s daughter Sim Chong’s [3] choked up heart,

In darkness,

As I wail gguh ee gguh ee [4]…

That whale left from my bosom may not everrrrr return.

 

Song borne in han [5] becomes an old folk song,

Snots and tears mudded with tangled hair,

I hold swollen breasts,

My lost love, my whale,

I drag them and crawl on my knees.

 

Danspace Project Program with indecipherable handwritten notes written on the cover. The Program type reads, in black print on white paper, "Danspace project. Spring 2022. Platform 2022: The Dream of the Audience, part two. Danspace Project pays respect to Lenape peoples. We acknowledge that this work is situated on the Lenape island of Manhahtaan (Mannahatta) in Lenapehoking, the Lenape homeland. We pay respect to Lenape land, water, and ancestors past, present, and future.

Gyun Hur. Artist notes taken during mayfield brooks’ performance, SenSoria: An Opera Strange, 2022.

[1] Lyrics from a Korean folk song “Whale Hunting” 고래사냥, lyrics written by novelist Inho Choi and composed by Changsik Song in 1975. Choi’s novel “Whale Hunting” was published in 1983. It is a coming of age story of a young man named Byungtae and his experience of first love and his journey looking for a whale as a symbolic search for deeper love amongst his community. 

[2] Excerpt and written record from mayfield brooks’ performance piece Sensoria: An Open Strange and their zine Whale Fall.

[3] Sim Chong is a main protagonist in The Tale of Shim Chong (심청전), which is a Korean classical novel. Sim Chong throws herself into the Indang Sea as a sacrifice so that her blind father can regain his eyesight. This selfless act of filial piety causes her to be resurrected and become an empress and her father’s blindness is cured. 

[4] Korean sounding for wailing.

[5] Derived from the Chinese character 恨, which means an internalized feeling of deep sorrow, resentment, hatred, regret, or anger is a concept of an emotion that is said to be an essential element of Korean identity by some, and a modern post-colonial identity by others.

 

Gyun Hur is an interdisciplinary artist and an educator whose experience as an immigrant daughter deeply fuels her practice.

Gyun completed Stove Works Residency, NARS Foundation Residency, Bronx Museum AIM Fellowship, Pratt Fine Arts Residency, BRICworkspace, Danspace Project Platform Writer-in-Residency,  Ox-Bow Artist-in-Residency, Vermont Studio Center, and Virginia Center for the Creative Arts. She is the recipient of Foundation for Contemporary Arts Emergency Grant, Part Time Faculty Development Award (Parsons School of Design), Artadia Award, and the inaugural Hudgens Prize. Her works have been featured in Hyperallergic, The Cut, Art In America, Art Paper, Sculpture, Art Asia Pacific, Public Art Magazine Korea, Hong Kong Economic Journal, Yahoo! Tech, Huffington Post, Atlanta Journal-Constitution, Pelican Bomb, Creative Loafing, Jezebel, and The Atlantan. Her interest in art making in public space led her to various artist presentations at the TEDxCentennialWomen, the international street art conference Living Walls: The City Speaks, the Atlanta Contemporary Art Center, The Hong Kong Polytechnic University, The New School, and many others. Gyun has contributed as an artist-writer in fLoromancy, The Brooklyn Rail, and The Forgetory.

Born in South Korea, she moved to Georgia at the age of 13. She currently lives in Brooklyn and teaches at Parsons School of Design, The New School.

www.gyunhur.com

 

 

Tags: Gyun Hur, mayfield brooks, Platform 2022, The Dream of the Audience
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