Chronology of works
Summer Toaster (2022)
Hey! Where to stop along the way ? (2021) 
Fridge is there (2020) Waley Art
Sadness that lasts for a long time period of time, often without any obvious reason (2020) at Songshan Cultural and Creative Park - Baroque garden & Guling Street Avant-garde Theatre
Looking for Inspiration (2020) Nuit Blanche Taipei
Trivial, scattered, all over here and there (2020) ManFei Theatre
There’s still some meaning (2019) Want to Dance Festival
Dance on my Rooftop (2018) Bamboo Curtain Studio international exchange programme in Mite-Ugro Art Centre
Oneway (2018) Together Art Festival in Kaohsiung, Hong Kong and Beijing
Animal Triste (2018) Dance Film
Rolling (2017) Village Taipei
Tent Theatre – The Face of Crying and Laughing (2017) New Taipei City 435 Art Zone
K a song (2017) Nuit Blanche Taipei
Oneway (2017) Art Alley Cafe
Street House Theatre - Table (2016) Arts into Taipei community Program
Statue Says (2016) Crew Cafe
Life Inc.-Go to Waste (2015) URS 329 Rice House

2057：給35年後的活存演習《吐司機與夏日Summer Toaster》/ 2022 / 兩廳院實驗劇場
2057，七月七日。
無感風景預報顯示:「是熱、是冷、是 四季。」
無速度感身體來訊:「是即時、是過時、 是混淆不清。」
​李明潔創作長期關注以個體為座標定 位，身 體 及 物 件 因 環 境 連 動 下 所 產 生 的 多 種 移動路徑。回應《2057：給35年後的活存演習》藝術計畫，她將與即時影像、物件、燈光、合成器、聲響同步共創編舞，謬想「當2057來臨，日常註定成為一種奇觀。」 身體 感知將因科技傳遞而減弱，時間、空間因高 速連結迷失判準，料理家電即將成為每日校 正體感的靜心測量儀器。
September 7th, 2057.
Senseless landscape forecast read: “it’s hot, it’s cold, it’s the four seasons.”
Speedless body sent a message: “It’s on-time, it’s outdated, it’s ambiguous.”
Ming-Chieh Lee’s long-term concern has been about the multiple moving path produced by body and object linked up by space, seeing the individual body as the fixed coordinate position. In response to the art project 2057: Drills for Survival in 35 years later, she is going to co-choreograph with real-time video, object, lighting, synthesizer and sound, misconceiving that “when 2057 comes, daily life is doomed to become a spectacle.” Our body sense will be weakened by the use of technological transmission; the criterion in time and space will be missing in high speed connection; cooking appliances will be the meditation measuring instruments to calibrate our body senses everyday. 
（照片：國家兩廳院提供／攝影陳又維）
《搬移練習－Yesterday 昨日》/ 2021 / 階段性實驗
層層覆蓋的記憶，映照著碎裂零散場景，難以割捨的無用品，反覆定位、移動、拖移。
這裡到那裡，那裡到哪裡？
日常的寂寥感緩緩擴散，不情不願，折射成一首空間協奏練習。
Photo: Baï LEE

《轉，看看有沒有什麼好地方》(Hey! Where to stop along the way?) / 2021 / 上樓左轉​
李明潔2021年作品《 轉，看看有沒有什麼好地方 》，以2020年《 修補計畫Make-Up Project 》－當代社會「移動」現象為延伸發想。
 今年以疫情間線上、線下的交錯日常，反覆辯證「表演現場」與「螢幕中的身體」間的混種變異，探尋當編舞家面臨邊界封鎖、移動縮減，身體轉向「荒蕪」時的臨界點。透過大量書寫排練筆記，思辨表演現場的消失轉移，反覆撿拾創作中的殘餘痕跡，尋找身體再修復、再出發的可能性。此計畫也與影像藝術家李欣穎Baï Lee合作，試圖與移動中的空間、身體、影像進行多元對話，實驗後疫情時代下的編舞流動性語彙。
此計畫分為兩章節：
｜Chapter I：掉進框框裡的格子風景 - Those Scenes that drop into the frame｜
10/10，窩著－線上、線下編舞展演
｜Chapter II：分區填補- Mending the parts｜
11/13 ~ 11/28，上樓左轉－影像編舞概念展
There are two-steps presentations derived from “Make-up project” for “Hey! Where to stop along the way?” in 2021.  The idea starts from a feeling that “body is like a barren place” during the pandemic times, and the non-stop moving phenomenon of “Nomadicity of current generation” is limited suddenly.  Through writing big amounts of rehearsal notes, the choreographer ponders the switch and disappearance of performance scenes, pick up the residual traces of creation and look for the opportunity to start again through fixing the real space and body.  This project is cooperated with a video artist Baï Lee, trying to make multiple dialogues with moving spaces, bodies, and images, experimenting with the flow of choreography in the post-epidemic era.
Photo: Baï LEE
《冰箱自己開啦》(Fridge is There) / 2020 / 水谷藝術 
編舞帶入展覽空間，重塑編舞家從表層到淺意識的異想世界。《冰箱自己開啦》帶出對於「創作」歷程的矛盾提問：創作素材是否存在著有效期限？打開冰箱挑選素材的究竟是誰？當開啟冰箱後，未完成素材是否有可能成為下一次可再被利用的靈感來源呢？創作者李明潔將邀請觀眾來到 她的日常生活，探索表演與創作的日常性。觀者將從中找尋作品的「日常」與自身之關聯性，在不斷移動、行進和觀察空間的感知練習中，延伸腦內的幻想世界，連結至眼前所見的多重空間景觀，逐漸靠近心中一片片理想的地景。
The choreographic materials are brought into a brand-new place, and there are some instructions preserved inside the fridge.  Choreographer invites the 7 performers to come to the house-like exhibited place and follow the instructions that choreographer left.  Each person will complete the solo performance and react to the theatre memory they had together.
​Photo: 小川先生

《靈感探險隊》（Shout out for Inspiration) / 2020 / 台北白晝之夜
這是一場深夜的旅行與探險，穿著睡衣就能一起穿越想像的邊界，想玩就玩想停就停。背著你的行囊來與我們同行，加入探險隊，跟隨指令穿梭在人群之中，我們會與你交換願望、一起找尋靈感或是躺著看星星。
Choreographer leads the audience to walk around the streets of Taipei at mid-night, capture the materials with extraordinary eyes, observe, move and making movements along the street.  It’s a process about finding additional materials to stimulate the creation, looking for more interesting inspiration.
Photo: 小川先生

《注意：前方天空有片小的烏的雲》（Sadness that lasts for a long period of time, often without any obvious reason）/ 2020 / ​台北松山文創園區巴洛克花園 / 牯嶺街小劇場2樓 
「現在編不出舞。」「他好像獨處的時候會崩潰。」生活是創作，創作是... …？
《注意：前方天空有片小的烏的雲》從一次排練場的「崩潰」經驗出發，創作者李明潔開始對於存在身體中的種種——關於創作、生活、思考的身體感進行描述與修補。觀眾將迷失在創作過程裡的呢喃、思考與尋找，結合真實經歷的身體狀態，跟著創作者的腳步，經歷一趟自我修復的旅程。
The journey starts from an “exhausting” experience in the rehearsal studio. The structure of this solo piece is from choreographer’s notebook while the “collapse” happens in an inspiration-exhausted situation.  These choreographic materials are put into the garden, and the audience explore and experience with the process of choreography.  People are released and breathe together in a choreographer’s garden inside her mind.
​Photo: 小川先生

《這裡有小的散的漫的島》(Trivial, Scattered, All Over Here and There) / 2020 /北藝大曼菲劇場
以身體在移動中的種種發現作為創作發想，透過身體創作回應外在環境，同時也藉由外在環境的刺激向內察覺自我，連結我與外在世界的關係。創作中以「當代遊牧」概念對現代人渴望移動並從中追尋安全感的矛盾進行提問——在生活不斷快速變動的今日，我們的身體累積了哪些記憶，從創作中該如何找到方式去重新經歷過去走過的路，從中找尋自我定位。
It uses the metaphor of disappearing islands to refer to fragments of memory in minds, and all the materials used in this work are like the fragments of reef islands.  In the developing process of this work, the creator and performers continuously picked up and put fragments together, trying to connect the passing fragments of memory in the process of choreography. These fragments were washed out to reveal a new sketch of choreographer’s life.
Photo: 小川先生

《現在感謝》(A Play Bow) / 2019
《指示牌上表示》(Tracing the Signs) / 2019