In a world where we enjoy a fake image of endless resources, where we sucked the earth to draw out the last bits, how do we continue to pump? The operation of pumping, that is, moving matters from one location to another, seems to be at the core of most vital processes of both production and reproduction. We draw, suck, elicit, and drain the earth’s body to enrich our lives on it, emptying our future(s). At the same time, we suck, boost, inject and inflate our bodies, transgressing their capacities. Pumping can paradoxically be at the same time capitalist practice of exhaustion as well as the feminist practice of enrichment and enhancement. Once pumped on one side, the other one is being sucked. Perhaps, eventually this piece will be busy with wasting, emptying and exhausting. One thing is certain, “I need a new body” will take place in-between: between a body as an exhibition and a body as a resource while looking at the place where these two intersect.

“I Need a New Body” is a choreographic work that explores the tension between the processes of pumping, sucking, extraction, and exhaustion—both of the human body and natural resources. Simultaneously, it engages with notions of nurturing, enabling, and growth, examining how these processes coexist in a world that continuously demands more. Born out of reflections during the pandemic, the piece captures the experience of being suspended in between, where temporal spaces became more tangible, only to find that post-pandemic life reassigns meanings and values within these settings.
This project, which began to take shape toward the end of 2021, emerged from a pressing need, which I have conceptualized as “The Aesthetics of Needs.” It interrogates a world that falsely presents itself as a reservoir of endless resources, while we drain both the earth’s body and our own. Pumping, the act of moving matter—whether to sustain production or reproduction—is a vital yet paradoxical process. It becomes a capitalist tool for depletion on one hand, and a feminist act of enhancement on the other. Positioned between the body as an exhibition and the body as a resource, the work resides in the intersection of these realities.
The choreography draws from the uncanny, blending bodily presences that oscillate between soft and rigid, inflated and deflated, liquid and still. The aim is to provoke an inquiry into bodily systems, encouraging both performers and the audience to reconsider space, gender, binaries, nature, production, and reproduction. The research culminates in a performance not about the body’s identity or desires, but rather what the body does and how it embodies its actions.
By the end of this process, the audience is invited to engage with the body as an entity that is perpetually unfinished and in construction, questioning the ingrained obsessions with strength,
progress, and outcomes—revealing the colonial undertones embedded in extractivist culture. The work challenges spectators to reimagine the body beyond its productive limits.