
is an artist based in Seoul. Her practice weaves geopolitics, mythology, and futuristic iconography into hybrid narratives through video, game simulations, performance, and text. She has exhibited at MoMA, Hamburger Bahnhof, M+, Mori Art Museum, Ars Electronica, Sharjah Biennial, and the Venice Biennale, and has received the LG Guggenheim Award, the Golden Nica, and the Terayama Shuji Prize.
Delivery Dancer’s Sphere unfolds in a frictionless Seoul, where roads regenerate faster than memory and motorbikes never stop. The protagonist, Ernst Mo, or perhaps her double, En Storm is a “delivery dancer” choreographed by Dancemaster, an AI navigation system optimised for elegance. Every movement becomes a calculation, every delay a deviation from perfection. Ayoung Kim transforms the gig economy into a physics experiment, where labour, performance, and automation merge within algorithmic choreography. The film blends CGI, live action, and speculative narration to imagine a world governed by minimisation principles, least time, least action, least error, where the human body is an appendage of logistics. Yet through glitches and mirrored selves, Kim’s riders stage a duet of disobedience, sabotaging the seamless system that exploits them. Delivery Dancer’s Sphere is both a sci-fi allegory of platform labour and a poetic reflection on agency, repetition, and resistance.
Delivery Dancer’s Sphere, 2022, single-channel video with 3D CGI and live action overlays, colour, sound, courtesy of the artist.
LOCATION; Bivša trikotaža Arena (former Arena textile factory)





























