Private Project

Wish You a Lovely Sunday

The video boldly combines and juxtaposes two distinctive spatial settings—a church and a queer club. For this filmic work, two choreographers and two dancers were paired up to create a new choreography, for the church “Kirche am Südstern” and the queer club “SchwuZ” in Berlin respectively. Each pair was assigned to a different Bach piano piece for four hands. After days of rehearsals and when the choreography was complete, their designated venues were then swapped. The participants did not know the exact location they would perform in until the actual day of filming, and, therefore, they had to reprogram their choreographies according to the new architectural features and atmosphere of the changed location.
Although churches and queer clubs seem to function for starkly different purposes, both spaces share intriguing similarities as they both require specific rituals, behavioral norms, and attitudes closely linked to the space and its role. Both venues could be said to be fundamentally community-oriented spaces, which seek to offer comfort and welfare for either the visitor’s mind or body. In the film, the continuous change of scenes between the two kind of spaces with the dancer’s bodily presence, their movements, and dialogues, aims at achieving a sort of almost impossible mergence or coexistence of religious practice on one side and club culture on the other side. In this 18 minutes video, we follow the protagonists’ struggles, passion, and commitment in trying to adjust their choreographies to fit into the new contexts.

  • Young-jun Tak
  • Young-jun Tak
  • Daniel Norgren-Jensen
    Key Cast
    "Dancer 1"
    Principal Dancer of Swedish Royal Ballet
  • Yi-Chi Lee
    Key Cast
    "Dancer 2"
    Demi-Soloist of Staatsballett Berlin
  • Liam Warren
    Key Cast
    "Choreographer 1"
    Founder of RIFT, Marseille
  • Jee Chan
    Key Cast
    "Choreographer 2"
    Dance Nucleus, Singapore; Uferstudios, Berlin; SAVVY Contemporary, Berlin; SWG3, Glasgow
  • Elsa Triquet-Rey
    Line Producer
  • Jubal Battisti
    Half Life, and Strong by Sharon Eyal
  • Pippa Samaya
    Second Camera Operator
    Oten, The knowledge between us, I'm Here now, All The Colours
  • Alex DePew
    Two Tracks, Someone Understands
  • Clémentine Decremps
    (E)motion by Wim Wenders
  • Guy Henderson
    Sound Mixer
    Big Exit, Lie Low, Zielfahnder—Blutiger Tango, Kofi and Lartey
  • Sergej Jurisdizkij
    In Zeiten des abnehmenden Lichts, Kreatur by Sasha Waltz, Liminals by Jeremy Shaw, You by Zeng Fanzhi, End Of Summer
  • Project Type:
    Documentary, Experimental, Short, Other
  • Runtime:
    18 minutes 38 seconds
  • Completion Date:
    July 19, 2021
  • Production Budget:
    20,000 EUR
  • Country of Origin:
  • Country of Filming:
  • Language:
  • Shooting Format:
    Digital HD
  • Aspect Ratio:
  • Film Color:
  • First-time Filmmaker:
  • Student Project:
  • Solo Exhibition "Wish You a Lovely Sunday"
    Russian Federation
    July 21, 2021
    World Premiere
  • The 16th Lyon Biennale
    September 14, 2022
    Europe Premiere
Director Biography - Young-jun Tak

Young-jun Tak (born in 1989 in Seoul, South Korea) lives and works in Berlin, Germany. His solo exhibition took place at SOX Berlin (2022) and Fragment Gallery (Moscow, 2021). His works have been exhibited at the 9th Berlin Masters (2021), the 11th Berlin Biennale (2020), Hall Art Foundation / Schloss Derneburg Museum (2020), Diskurs Berlin (2019), Seoul Museum of Art, SeMA Bunker (2019), Brandenburgischer Kunstverein Potsdam (2018), PS120 (2018, Berlin), the 15th Istanbul Biennial (2017), König Galerie (2016, Berlin) among many others. He won “TOY Berlin Masters Award” (2021). He was Managing Editor of the 13th Gwangju Biennale (2021) and the 9th Busan Biennale (2019), and Editor at the South Korean monthly art magazine "Art in Culture" (2012–2015).

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Director Statement

In my practice, I try to investigate some of the socio-cultural and psychological mechanisms that are part of shaping certain belief systems. In the constant bombardment of virtual disinformation, the physicality and materiality of objects gain new meanings. Haptic visuality and manual fabrication are crucial in my work. This type of visuality can generate a different sense of engagement with its certain margin of failure, its slowness, and anti-perfection opposed to mass produced items, which stands against values that I escaped from in South Korea: competitiveness, tireless renewal, praised rapidity, and consumeristic fascination of the flawless. I also hope to provide viewers with some glimpses of the gaps that exist beyond the binary—and in that sense there should definitely be room left for some degree of uncertainty rather than claiming one hundred percent clarification. In order to achieve this, the work often needs to allow itself to be partly self-contradictory. Polarization and exclusion create fossilized visual codes as byproducts, and I try to dissolve the coded aesthetics, for example, found in religious icons, propaganda tools, protest materials, gender symbols, and so on. This can expand our realities as well as engage in real life matters. Therefore, I continue to infuse and strengthen contrasts by presenting and implying the dual, multiple, contradictory nature of lives in a single body of work.