- 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
- 202599 Verbs and Wishes
- 2024Silent Flight (Part II)
- 2024it's factual, so vast
- 2024you and me, we grant this portrait the marvelous
- 2023Silent Flight
- 2023Compound Rite
- 2022Field Record 5: Sun, Moon, You
- 2022Compound Rite: Utopia or Oblivion (II)
- 2021Field Record 4: Every Motion is a Ritual ᠲᠠᠯᠠᠪᠠᠢ ᠵᠢᠨ ᠲᠡᠮᠳᠡᠭᠯᠡᠯ 4
- 2021Drift Upwards, Fall Downwards
- 2021Far Journey, Homeward
- 2021Doppelgänger
- 2020In Another Green World
- 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
She creates formal and ceremonial movement sculpture and perceptual score variations grounded in the material study of gesture, intrinsic time, and site. Realized across choreographic performance, film, and painting, the work records and abstracts intuitive truth and the romantic, while delving into contemplation on form, faith, constancy, inheritance, migration, memory, and the experience of life.
She works with body movement and tactile materials that extend the body—garment, music, paint, and technological intervention. Her practice explores “every motion is a ritual” and “performative landscape” as both method and philosophy. Besides the Fūdo of the Mongolian Plateau, her work is also informed by an art lineage that integrates her mother’s heritage—a choreographer and stage director renowned for Inner Mongolian dance and stage art, with Chinese ethnic and folk dance, early postmodern dance legacies, Noh, and Tantric Buddhism, along with specific archival resources: personal notes, dance notations, and paintings.
Dongnier studied at the Beijing Dance Academy and has served on its faculty, received her MFA from New York University, and graduated from the Skowhegan School of Painting & Sculpture. She was a tenure-track assistant professor at the School for the Contemporary Arts at Simon Fraser University from 2021 to 2024. Since 2024, she has dedicated herself full-time to her work while being structurally supported by, and contributing curatorially to, the Barnard Movement Lab at Columbia University.
Her work has been supported by and presented by The Watermill Center, Movement Research at the Judson Church, New York Live Art, La MaMa|CultureHub, Jacob’s Pillow, Mana Contemporary, Monira Foundation, Media Art Xploration, initial research, North East Asia Art Archive, Aranya Art Center, G Museum, Ming Contemporary Art Museum, the China National Centre for the Performing Arts, and the Shanghai International Dance Center Theater. She received a nomination for the China Dance “Lotus Award” in Choreography in 2017.
She has collaborated on projects with theater director Robert Wilson, musician Lane Shi otay:onii, Mongolian music revivalist ensemble Anda Union, composer Mauricio Pauly, and director-choreographer Yanmin He, among others. She is also a co-founder of NUUM Collective, an artist collective that synthesizes choreography, media, and computational thinking in search of novel ways to craft meaning out of form.
She has initiated a project space in Inner Mongolia-Beijing, making her place of origin a site of ongoing work.
CV
中文资料
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