ABOUT

Jija Sohn is a Korean-Japanese artist engaged in the creation of collective performative situations to study how moments of epiphany, intimacy, pleasure, and trust can arise. 

Epiphany is meant as an entry into a state of liquidity, where time slows and becomes fluid, and where sensations, thoughts, emotions, and relationships begin to move like a shared tide. Liquidity both becomes a metaphor and dynamic through which modes of co-presencing emerge between individual agency and reciprocal sensing. 

She is currently based in Italy and the Netherlands. Her work focuses on how we work and relate, foregrounding processes as a relational and experiential space.

Her current research, Posture of Liquidity  (2025- ) at Lavanderia a Vapore with the support of Viernuvier, unfolds by connecting her aquatic bodywork practice and her pedagogical work at DAS Theatre (ATD), each continually informing and reshaping the other. Within this trajectory, she works closely with Lavanderia a Vapore while also engaging in broader collaborative contexts as part of the collective residency ARIA and as an associated artist with the European cooperation project onMobilisation – Towards Multivocal Collaborative Futures. 

Since 2026, Jija is a Watsu® practitioner and Waterdance provider, working with water as a space for non-linearity, touch, and deep listening. In parallel, she facilitates Listening Bodies, a trajectory within the DAS Theatre Master’s program (2023-), where she works with students through body- and movement-based sessions to cultivate bodily attunement, fluid group dynamics, and co-learning environments rooted in care, playfulness, and shared curiosity.

Since 2019, she has developed a process-oriented, relational practice exploring human connection through community-based projects, including Lands of Concert, Phantom Travels, Landing on Feathers, and Performing Gender – Dancing In Your Shoes with Theater Festival Boulevard (2022–2023). During this time, she collaborated with Julia Reist / ARP – Art Research Production (Brussels), the Talent Development Trajectory PLAN Brabant (DansBrabant, 2019–2021), and institutions such as Theaterfestival Boulevard, SPRING Performing Arts Festival, de Brakke Grond, ICK Artist Space, Kaaitheater, Viernulvier, BUDA Arts Center, WPZimmer, and Dansateliers. She holds a BA from SNDO – School for New Dance Development (2015) and further shaped her practice through research across Europe and as a guest artist with nosmosis research in Tokyo (2024–2025).