Matras Platform

At the start of this year Khalid Jone ,one of leaders of We Are Here movement visited Gluklya studio. I was very happy to meet him as after Carnival of the Opressed Feeling from 2017 we have not sustain the diologue.I have explain him the idea of dealing with Matrasses outside ,as i saw a lot of them in the streets of Amsterdam. Since Pandemc started people are througing a lot of stuff out , more then ever and especially matrasses. What a perfect place to write messages , imagine ! 


Workshop with We Are Here in April 10 2021

Clinic of Multiplicities

The idea behind the project is the decolonization of the subject of Heath.

The notion of Radical Empathy includes the Critical and Educational approach. The latest observations pointed on the lack of compassion and solidarity among our cultural community. The competitiveness, which is typical for the capitalist society with the ruling power of the free-market is blocking the resources of empathy and politically/socially framed creativity. I would like to oppose it by proposing the practice of Radical Empathy and Meaningful Care * referring to the notion of Global Solidarity.

The slogan Global Solidarity came from the article “The world after Coronavirus” by Yuval Noah Harari. It was one of the first articles that appeared at the very start of a global pandemic. Global Solidarity is used in the article along with Empowering the citizens as opposed to New Surveillance – a new form of control that the government is developing for its citizens. The new type of surveillance and control, scarier, and more sophisticated than ever, allows “them” to look under our skin. We have to be prepared for that and develop new types of protection and resistance, to stay healthy, keep our freedom ,to have enough air around ourselves and to be not totally controlled.

The Notion of Care is a multilayered subject.

On one hand, I would like to stay not ignorant of people’s needs, and my statement from 2002 when the Manifest “The place of the Artist is on the Side of the Weak” was written hasn’t changed since that time. On the other hand, to be able to help anybody, you should be very aware of the context of “other”, the one you want to give the helping hand to, with good intentions.

How should we think about Normality and Health now, within the Pandemic? How do we stay within a healthy spirit that is “a bit dirty” in a sense that nothing we can imagine now except the hybrid way of uniting with each other ??

What are the methods we, as artists and thinkers, have to invent to stay “healthy” (free and fearless) within the power structures which aggressively surveil the notion of “Health”?

The Plan of the project :

A series of research-oriented performative seminars which will result in an exhibition and performance or seria of the performances.

For organizing it I am deriving from my previous experiences of the projects Utopian Unemployment Union and Carnival of the Oppressed Feelings.

Seminars will be structured :

-Investigation of the NAZI conception of body and Heathy society, referencing it with the concept of Art of Germany 30-40 s )

– Conceptualizing the idea of the society as a body

-Examine the notion of Care, study the different concepts of Radical and Social Care.

The topic of Care is complex and has to be explored according to the current de-colonial debates and re-tinking the principles of modernity.

-Research about different approaches toward relationships between body and mind including the revisiting the notion of the Witchcraft ( by reflecting upon it ) and the healing rituals of Indonesian Indigenous tribes.

-Reading groups on the topic

I would like to construct a situation where participants can share their knowledge and experiences with a cross-pollinating result.

The idea is to encourage a cohort of Amsterdam based Artists and Thinkers mixed with the refugees and expats, spanning different generations and dialogical identities to rethink the notion of care drawing on indigenous, matriarchal, and, queer pieces of knowledge. The result of these encounters will be an exhibition assembling expertise, artefacts, storytelling, and new tools activated in the space by durational performance. Additionally, all the sublime efforts will be accumulated into the major performance under the working title: Clinic of the Sun Care.

Debates on Division in BOZAR Brussels 2019

Utopian Unemployment Union (UUU)

Performative Laboratory )

The Utopian Union of the Unemployed is a project that brings together poets, refugees, academiks,migrants, artists and institutions in the united aim of developing a pilot model for a new type of a perforative laboratory that exists at the junction of art, economics, progressive pedagogy and the social sciences. The goals and objectives of the project are to research new methods to integrate newly-arrived refugees united them with local creative thinkers into the European Community.

UUU constituted as composition of meetings, collective walking, talks, reading groups, performative encounters. UUU can be resulted as art project or as a new relationships which can lead to long lasting collaboration based on friendship and trust .

These project starts on 2010 in St-Petersburg from the process of making video of the coinciding behaviour of the Ballerinas and Migrants from the Uzbekistan who are coming to Russia to work at the low payed and most unpleasant jobs. The idea to work with binary oppositions came from the study of the dialectical approach of the state of things .

Here is the piece of the text from these project: Our basic concept is to explore cultural encounter through the interaction between two different groups, one elite and another precarious and marginalised. For example, in Russia we are planning to bring together ballerinas and construction workers. Russian classical ballet by many is perceived as the quintessence of Russian cultural tradition, and a major cultural ‘export’. As an art form, it is characterised by the desire for order, beauty and harmony. As a cultural phenomenon, however, ballet incorporates the idea of empire, power and discipline. As an institution, it continue to be dominated by ethnic Russians. Construction work, to the opposite, is perceived as polluted, disorderly, and undesirable activity. Like in many other countries, construction workers come from undocumented migrant background, and are received with disrespect and exclusion.

In the case of Russia, we would like to make these groups to collaborate: ballerinas will come to construction sites and to observe and participate in the work done there. They will be trained and supervised by construction workers. The migrant workers from construction sites will visit Vaganov School where they, in turn, will learn the language of ballet. Each set of participants will produce an item – a dance which might lead to the installation – expressive of the difference in professions and life styles of the groups. The process will be filmed and participants interviewed after each session.



The sketch to the performance of the  Utopian Unemployment Union N4 . Relating with the chto delat song spiel “The Nederland’s 20XX “


Carnival of the Oppressed Feelings 2017

Carnival of Opressed Feelings

Michail Bachtin [From Problems of Dostoevsky’s Poetics]

Carnival is a pageant without footlights and without a division into performers and spectators. In carnival everyone is an active participant, everyone communes in the carnival act… The laws, prohibitions, and restrictions that determine the structure and order of ordinary, that is noncarnival, life are suspended during carnival: what is suspended first is hierarchical structure and all the forms of terror, reverence, piety, and etiquette connected with it… or any other form of inequality among people

Carnival of Opressed Feelings happened in Amsterdam in October 2017 .The hybrid of the performance and political demonstration -it is the event summarizing the seria of the workshops and encounters with refuges living at formal prison Baijlmer Bajes. It connected different people together : students ,artists ,activists, academics, people of different ages ,believes and statuses.

COF started  from Bijlmer Bajes and finished at Dam square with several stops on the way.The stops where selected conceptually ,with the idea to tell refugees some alternative story about society or make a small performance. The storys was told by : Sari Akminas( (Journalist from Alepo),Khalid Jone (Activist,We are here),Ehsan Fardjadniya (artist ),Dilyara Valeeva, (Sociologist ,Uva) Erick Hagoort(curator, writer) and others and in the end Gluklya with Theo Tagelaers read the UUU Manifesto.


The structure of the performative body of Carnival is referring to the political demonstration  and consists of different parties.

1) Potato Eaters party 

2) Monsters party 

3) Language of Fragility party

4) Recycling prison party 

5) Spirits of history party


Carnival last 4 hours and brought together around 150 people.



Debates On Division: When Private Becomes Public

Project portfolio [2011-2019]

‘Debates on Division: When Private Becomes Public’ is an ongoing, interactive performance created and directed by Gluklya (Natalya Pershina-Yakimanskaya), curated and produced by Anna Bitkina in collaboration with institutions that hosted the project and many local collaborators. Conducted several times internationally (as a part of Manifesta 10 in St Petersburg (2014), in Amsterdam at SMBA – Stedelijk Museum Bureau Amsterdam (2016), as a part of Creative Time Summit in Washington DC (2016) and in Oslo (2017) the project formed into a nomadic, discursive and performative platform/network with an algorithmic structure that aims to identify and analyze political order in different geographies and its implications on private lives of individuals.

What begins as a fictional TV talk show with local actors and performers ends with a public demonstration. This way, Gluklya and Anna Bitkina want to create a public forum that spotlights different forms of human fragility and traumas caused by deviation in structures of power. In the center of the performance several stories that evolve around various pieces of clothing. Presented cloths play an intermediary role between private and public, exposing the conflict between the inner world of a person and the political system. The audience is invited to vote whether each presented piece of clothing enters the collection of the Museum of Utopian Clothes – a speculative public institution. To have a sharp articulation of local conditions a group of 5-6 experts that consists of representatives of different professional fields are invited to reflect on each story.

In March 2019 the performance was presented at The Center for Fine Arts BOZAR in Brussels and as a part of  Performative Festival. Brussels’s version of ‘Debates on Division’ includes elements of criminal-conspiracy drama and deals with the subject of fear, suspicion, and distrust fueled by social segregation, financial insecurity and xenophobia in the context of growing degeneration of the political system in the EU and across the globe.

Debates on Division
Manifesta Biennale 10
St Petersburg, 2014

The first iteration of the performance was commissioned by Manifest 10 for its public program and took place at the New stage of Alexandrinsly Theater and Nevsky prospect. The project idea was a reaction on the annexation of Crimea and the escalation of Russian-Ukrainian conflict in 2014. It was a time of radical turn in the national political agenda that has changed position of Russia on the geopolitical arena and forced a major social division in the Russian society based on opposing political views. It became apparent that a new language is needed to articulate the complexity of current political conflicts, cross border relations and global economical and military interdependency. In the focus of the performance were other internal and urgent socio -political issues of contemporary Russia among which a suppression of minorities, including representatives of LGBTG community and working migrants.

Follow the link to see video documentation:

Review by art critic Valeriy Lednev ‘Non-healing Gap’ on (in Russian)

Gluklya (Natalya Pershina-Yakimanskaya), “Debates on Division: When Private Becomes Public”,Manifesta 10, 2014, New Stage of Alexandrinsky Theater, St Petersburg.

Gluklya (Natalya Pershina-Yakimanskaya), “Debates on Division: When Private Becomes Public”,Manifesta 10, 2014. Documentation of the silent procession along the Nevsky Prospect (part of theperformance), St Petersburg.

Debates on Division
SMBA – Stedelijk Museum Bureau Amsterdam, 2016

At SMBA the performance was adapted to the local context and conducted around three stories by migrants and recent refugees. Currently based in Amsterdam they are struggling by awaiting for an asylum or a permit to be able to continue living and legally working in the country. During the performance questions on current migration policy in The Netherlands and in the EU were in the center of debates. Who decides on the status of current refuges and long term residents without a legal status? Based on what requirements they could stay in the Netherlands? When they have to leave the country and where should they go to?

Performance documentation:

Text about the project:

Gluklya (Natalya Pershina-Yakimanskaya), ‘Debates on Division: When Private Becomes Public’, SMBA, Amsterdam, 2016

Debates on Division
Creative Time Summit in Washington DC, Lincoln Theater, 2016

The stories presented within ‘Debates on Division’ performance in Washington DC touched upon personal frustrations of individuals caused by the political crisis in the US. The event took place one month before the last presidential election in the United States in which Donald Trump was elected. The procession took place to the White House the next day of the performance and included participants of the workshop that was a part of the Creative Time Summit program.

Documentation of the performance:

Gluklya (Natalya Pershina-Yakimanskaya), ‘Debates on Division: When Private Becomes Public’, Creative Time Summit, Lincoln Theater, Washington DC, 2016

Debates on Division
Deichmanske Bibliotek in Grünerløkka, RAM Gallery, Oslo, 2017

In the third edition of the performance project initiators are engaged in a search for a visual and performative language to create a critical discussion around the ‘deviant use of democracy’, the future of Europe, and the position and agency of the younger generation within current post-neoliberal conditions. The project also challenges the idea of a ‘perfect state’ of Norway. Black humor, exaggerated features of the characters, futuristic forms and looks are important artistic methods of the project. The performance evolves around personal stories of young people of 15-20 yo, who live, study and work in Oslo. Young individuals of different ethnic and cultural backgrounds bring into spotlight important issues related to their social and political positions, attitudes towards governmental structures, youth policy in Norway and visions for meaningful future. Important additional component of this edition is an exhibition at RAM Gallery which includes video of recorded stories and costumes designed by Gluklya.

Documentation of the project:

Curatorial text available here:

Gluklya (Natalya Pershina-Yakimanskaya), ‘Debates on Division: When Private BecomesPublic’, Deichmanske Bibliotek in Grünerløkka, Oslo, 2017

Debates on Division
The Center for Fine Arts BOZAR as a part of Performatik Festival, Brussels, 2019

Brussels’s version of ‘Debates on Division’ include elements of criminal-conspiracy drama and deals with the subject of fear, suspicion, and distrust fueled by social segregation, financial insecurity and xenophobia in the context of growing degeneration of the political system in the EU and across the globe.

In the focus of the show several stories that are carefully crafted from the parts of interviews and conversations with artists, human rights activists and representatives of LGBTQI communities, businessman, politicians, historians, social workers, sociologists, writers, media specialists and policymakers conducted by Gluklya and Anna Bitkina in Brussels since April 2018. The stories that are narrated by local artists and performers evolve around different elements of clothes. Presented as evidence of forensic investigation, the clothes play an intermediary role between the private and the public, exposing the conflict between the inner world of a person and the political system.

Performance participants, jury members and audience marched to the Parliament covered with blankets which served as a central element for the demonstration and a direct reference to the amount of homeless people in the EU capital that inhabit the premises of the EU headquarters at nights. Walking from BOZAR towards the European Parliament the demonstration manifests for the human and non-human rights and urgency for equal and inclusive politics, locally and globally in the pivotal moment before the European elections in May 2019.

Curatorial text available here:

Gluklya (Natalya Pershina-Yakimanskaya), ‘Debates on Division: When Private Becomes Public’, Center for Fine Arts BOZAR, Brussels, 2019

Gluklya (Natalya Pershina-Yakimanskaya), ‘Debates on Division: When Private Becomes Public’, procession towards European Parliament (part of the performance), Brussels, 2019

Resistance Strategies. The Strange Never Surrender

This winter an exhibition «Resistance Strategies. The strange don’t surrender» by Gluklya (Natalya Pershinina-Yakimanskaya) took place in the Saint Petersburg branch of the State Center for Contemporary Art. Gluklya answered questions of Aroundart.

Olga Zhitlina: In the manifesto of the FFC (Factory of Found Clothes) you and Tzaplya write about sentimentality, but about a non-Hollywood type of it.  How can an artist re-appropriate feelings from Hollywood?

Gluklya: We just wanted to work with feelings, and that’s all. The statement was actually written while polemicizing with those artists, who are afraid of working with feelings, because everything is like appropriated by this dirty capitalist world. But if we follow this chaste way, it seems like we’ll fall into hermeticity. Let’s choose our own language (and aesthetics is a language), and let people learn this new language! And at this point I have a question: “How will they actually learn it”? Maybe, we should still leave some codes that will allow people to recognize themselves if they conceive a wish to share the artist’s convictions? Continue reading “Resistance Strategies. The Strange Never Surrender”

Inspired by Natalie Pershina | Copyright © 2018