“This work can be read as a contemporary requiem that invites anonymous spirits into He Jin Jang’s body in order to remember them. It reminds us that everything—from a speck of dust to the workings of nature—exists in mutual dependence and companionship. Responding to an era of intense political conflict and division, Jang creates her own contemporary ritual performance, resonating with what lies beyond the visible world.” Dance Webzine, November Issue, 2025, Hye-ra Kim (Danc

“He Jin Jang has consistently expressed her interest in spaces where dance occurs and the social role of artists. What is woven together by 'those who move,' 'those who observe the movement,' and 'those who are observing those who observe the movement' is nothing other than rhythm itself. The spontaneous rhythm of the space, created with invisibleout a clear cause-and-effect relationship, enables a unique solidarity among the participants on the spot. For her, dance seems to

“In the work, the performer's narrative operates not only on a semantic level but also on a material level, allowing some audience members to experience a hypnagogic state. The hypnagogic state, where one feels as if they have fallen asleep while they have not, parallels the experience of a rehearsal where one has not performed but feels as if they have. The tactile experience using the mat also serves to enhance the experiential aspect of the rehearsal.” Dance Webzine, Febru

"I bet you’d put that on is not merely a simple play with blankets; it is simultaneously a play with corpses and a meticulously designed device, and in terms of choreography, it is also a precise work designed with a dual structure.” Dance Magazine MOMM, January Issue, 2023, Sunghye Park (Critic), I bet you’d put that on “<당신이 그런 것을 입게 될 줄 알았어>는 단순한 이불 놀이가 아니라 시체 놀이인 동시에 세밀하게 설계된 장치요, 안무에 있어서는 이중 구조로 설계된 정밀한 작업” 2023년 『월간잡지 몸』 1월호, 박성혜 평론가, <당신이 그런 것을 입게 될 줄 알았어> 글 전문 링크 Link

"The audience is held on the mat and experiences the distortion of their body on the fluid ground, not through seeing or hearing. The words inserted into these conditions constantly destabilize the fixed positions of 'I' and 'You.' With eyes open, the audience faces the performers for the first time and wears boxing gloves and then the mat lightly and solidly, following the lead of the performers. ... I bet you’d put that on reflects the audience's position once as an absence

Art Scene, January lssue, 2022 / Min Gwan Kim (Critic) / You cannot disinvite x-being "These movements might be a philosophical declaration of becoming-non-body, becoming-object, and ultimately disappearing-like-air. This becoming, on one hand, appears to possess a complete performativity, as the choreographer throws herself onto the stage. Even if all of this leads to expressions based on pre-set scores, the movement advances into a realm that generates gaps and errors withi

"He Jin Jang's artistic practice, while rejecting the ‘experiment of form’ enclosed within the traditional — dualistic — metaphysical framework, appears to be an integral part of her tough exploration to the question, 'If material — a dancer's body — and form are the same, how can choreography be approached?' For this reason, the most crucial clue to deciphering He Jin Jang's choreography lies in her approach to material in dance, namely, her choreographic methodology. ... It

“He Jin Jang’s performance has opened a space where the audience, standing on the direct tremors of nerves, lights one’s own torch, jointly rupturing or being ruptured within the dark resonance. … The choreography, although barely, most intensely threw up the confession of the fluid interior or 'interspace' of the female body while questioning "what is the stage" with the incomprehensible power of the goblin ‘mae.’ It was remarkably problematic, and overall, it seems like a m

“The performance was a declaration of vulnerability and posed questions about the connection and mediation of breath, (voice) sound, and life. The process by which the body, as something that captures the breath and life, comes out and becomes audible and visible, has become a vivid awakening of its presence among the audience as a performance. Gradual weakening practice (of weekly weakly) was to seek a way for life, in its most fragile form, to establish relationships with t

"silence replaced: is not a work where the concept is prominently displayed. To me, it was perceived as a choreographer’s humble reflection on questions such as, ‘What are we trying to do with the female body and its position, as seen in the subtle aspects integrated into our daily lives?’ or ‘Why engage in risky performances?’ ... It is believed that such authenticity can eventually create a resonance in the heart." Dance and People, 2020, Bongheon Lee (Journalist), silence

"Invited by Movement Research in the United States, He Jin Jang's choreographic work, Weekly Weakly, was performed with great acclaim at Judson Church. This performance, centered around the themes of the last wishes and revival of life, was well-received for creating her distinctive 'peculiar atmosphere,' receiving a warm welcome from the experimental dance scene in New York." The New York Ilbo, 2020, Eunsil Jung (Journalist), Weekly Weakly “미국 무브먼트 리서치(Movement Research)의 초청

"Microhabitat Body was a work in which each participant accumulated, amplified, and shared imagination perceptive cognition through the act of 'seeing,' represented as a perceptive action. It was an exercise in reviving and living through the things perceived, through the re-perception of the micro 'somethings' that are formed in the moment of perception, as well as through the chains and overlaps of perception and their exchange. The choreographer describes this act of survi

“In this work, which explores the discrepancy between objective and subjective time, it seems appropriate to include even the actions and moments before the beginning of the performance as part of the work. Along with the symbolism of a half-open door—entering or leaving, merely an ambiguous choice for those who aren't quite ready yet—an improvisational yet focused performance showcased the psychological distance between the anticipation of change and the desire to remain ine

"He Jin Jang's migrant-self the speed of a doorSpeed of Migrating Self-Inquiry depicts the turmoil of the self within the gap between physical time and cognitive time, showcasing her unique choreographic style with a distinctive mise-en-scène and choreography that blends words and body movements." Dance Webzine, 2015, Yoonsook Lee, migrant-self the speed of a door “장혜진의 <이주하는 자아 문의 속도>는 물리적 시간과 인식의 시간 간극 안의 자아의 혼란을 그린 작품으로 독특한 미장셴, 말과 몸을 섞은 안무 등 장혜진만의 독특한 안무 스타일을 보여주었다.” 201

“I might use the word elemental. He Jin Jang’s floor-centric compositions lead her back to the ground again and again, and through time. I watch work from her graduate days at Hollins University. Titles read like gentle philosophical treatises that also read like poems: Of the presence of “us-ness” (nowhere to hide), A practice of being together, Practice of Cost-effectiveness, Ethical Goodbyes (unread) … Fast forward to 2012, back on the blond floor at Judson, Jang shows an

“...before HeJin Jang humbled us all at the conclusion of open skin inscribed by kneeling and scrubbing the cement floor with xeroxed photography of the surface of her skin. The moment silenced the crowd before, one by one, they joined in this moving homage to the very hard work of those who have come before. What a way to end a season.” U.S Indy week, July 2008, Byron Woods (Critic) “<열린 피부에 적힌>의 마지막 장면에서, 장혜진은 무릎을 꿇은 채 자기 피부가 찍힌 흑백 사진을 시멘트 바닥에 문질렀고 순간 우리는 모두 겸허해졌다. 고요해진 관객은