Yon Natalie Mik (Berlin/Los Angeles) is a performance and visual artist who works through images, sound, and dance to create expanded forms of choreographies. Addressing how intersectional oppression creates barriers that culturally disable people from reaching their full potential, her work invites the audience to unlearn and reimagine dance as a vehicle to build more inclusive and accessible dialogues with each other. Her work often employs critical methods researching and archiving, and thrives in diverse environments, including public service facilities, in educational contexts, cultural and art venues. Most of her works can be experienced from home or other personal spaces, which allows the audience to engage with the choreographies on their own terms and temporality.

Her recent work has explored the kinetic knowledge within individuals from marginalized social groups. Her past projects such as Studies on Smiling (2019) or Studies on Squats (2020-2024) have documented micro-movements that exposed the body politics of South Korean migrants in Germany. These 'movement archives' not only kinetically pointed to the impact of oppressive histories but also celebrated how bodies labeled as ‘weak’ or 'other' have utilized movement to perform resistance and assert agency. Her latest project, Studies on Touch (2024-), documents the healing movements of massage therapists. Another recent project titled Sound Dance (2024-) interrogates the medicalization of healing by exploring intimate gestures of care and their relationship to ancestral health science. A crucial component of Mik’s choreographic process involves the making of movement notations and creative audio descriptions, enabling a wider audience to experience dance differently.

Yon Natalie Mik co-founded The Invisible Archive (TIA) in 2019, a multi-authored archive and publication project that explores the intersection of art and activism through the lens of performativity and embodiment. TIA is self-organized and produced collaboratively with other artists, researchers, and activists. Her Ph.D. project Choreography of the Ghost - Dancing Resistance and Transcultural Archives was part of the research group Normativity, Critique, Change at the Free University of Berlin and funded by the German Research Foundation.

Some of her recent works were shown at the forever gallery, Seoul (2024); Momuro Salon, Seoul (2024); Miss Read Talks, Berlin (2024); Milano Re-Mapped Summer Festival, Pirelli Hangar Bicocca (2022); Project Space Festival, Berlin (2022); Arts at Blue Roof, Los Angeles (2022); Dock 11 Expanded, Online (2021); Ifa Gallerie, Berlin (2021); Slavs and Tartar Pickle Bar, Berlin (2021); Torrance Art Museum (2021); Los Angeles County Museum of Art (2019); Performing Arts Festival Berlin (2019); 182 Art Space, Taipei (2019); Museum of Latin American Art, Long Beach, CA (2018); Corner Art Space, Seoul (2017); Downtown Art Center, Los Angeles (2016).

Mik was awarded fellowships, residencies, and grants by the Taipei Performing Arts Center (2024), esea contemporary (2024), Akademie Schloss Solitude (2023), the German Research Foundation (2021), and the Korea Foundation (2017). She held guest professorships and delivered lectures at various institutions including the Dutch Art Institute, Arnhem (2024); State Academy of Fine Arts in Stuttgart (2023); Korea National University of Arts, Seoul (2023), Oktoberdans International Dance Festival, Bergen (2022); Gesellschaft für Theaterwissenschaften (GTW) Kongress, Berlin (2022); Freie Universität Berlin (2021); Universität der Künste Berlin (2019); Hamburger Bahnhof Nationalgalerie der Gegenwart, Berlin (2019).