Yulia Arsen
Dance artist
Choreographer
Performer
BIO
Yulia Arsen is an interdisciplinary artist and choreographer who works at the intersection of dance, theater and contemporary art.

She studied contemporary dance in Munich (Iwanson) and in Kassel (SOZO vim) and later performed her own works in Radialsystem (Berlin), mumok (Vienna), SAAL Biennaal (Tallinn) and in other venues and festivals in Germany, Russia, Estonia, Ireland, Romania and Austria.

Making solos is her main art practice. In 2022 her solo ‘plastic bag’ was selected for the AEROWAVES Twenty 22 and in 2023 her solo ‘the whip’ was premiered on ImPulsTanz.

Along with producing solos, she has been actively developing tools that aim to push creative professionals of different backgrounds into 'making'. They were put together as a solo workshop that was invited to CNDB (Bucharest), Dance Limerick, and Tanzhouse Temporar (Kassel).
Another strong interest of hers is making pieces through laboratory processes with a mixed group of performers. She is inspired by unique bodies and the variety of backgrounds, their non-similarities, and the possibilities of being together.

Before the war, she was a resident at the Meyerhold Centre, Winzavod Centre for Contemporary Art, collaborated with V-A-C foundation as well as with various independent art institutions and theaters. She left Russia after the invasion of Ukraine in a disagreement with the government's actions in 2022.


Now she is based in France, where she became an Adami fellow (2023) and established her company Bedroom Community (2025). At the moment she is working on the trilogy Forever Lost: a nostalgic series of lost futures, contains of 3 chapters: Do you really wanna live forever, Utrennik and After Party.

Do you really wanna live forever (2024-2026)
In a gray zone of frustration and uncertainty, time appears frozen, as if we are stuck in a memory capsule. Central to this experience is the inability to truly speak out or break free. We are caught in a loop of repetition, stasis, and breakdown. Is this reality or a nightmare? How do we find or identify ourselves when we have nothing to say—what can be said in such a situation? Which words are necessary to describe the indescribable and express the inexpressible?

Credits:
Concept and dance - Yulia Arsen
Sound -Wassily Bosch
Outside eye - Anna Kozonina
Photo - Mila Orishchenko

Supported by: Théâtre de Vanves, Point Ephémère, La Briqueterie CDCN, Atelier de Paris CDCN, Fond Transfabrik
The whip
(2023)
This research was started from choosing the object to work with. The object that would balance between being a charged symbol and being a tool. So, it's the whip. It caused fear and disgust, already in the bare situation of the solo with an object.
What would be the strategies of finding the balance between these extremes? What would be my agency in this juxtaposition with a symbol of power and violence?
Arsen is constantly searching for balance between semiotic and affection, between whip as a symbol and whip as an unknown territory.

Supported by:
La Briqueterie - CDCN du Val-de-Marne (France), Station Service for contemporary dance and CC Magacin (Serbia), Percolate and Dance Limerick (Ireland), Dance Identity (Austria), SEANSE art center (Norway), ON/OFF on-line residency

Choreography and performance - Yulia Arsen
Music - Till Mertens
Outside eye - Nicole Seiler
Video - Yana Isaenko
Plastic bag
(premiered 2021)
Femininity is a product. A mass-produced product you can find in a store. Determined to achieve full-fledged femininity, Yulia Arsen goes to the shop with a plastic bag where she means to purchase it for a reasonable price.

Ironic, honest and intimate, in this piece Arsen plays with clichés about what it means to be a woman, and to examine your gender identity.

Credits:
Choreography and performance - Yulia Arsen
Outer eye - Nastya Nikolaeva
Special thanks to the STANSIA art-residency for support.
Photos: Claudiu Popescu and Egor Gogen

TWENTY22 by Aerowaves https://aerowaves.org/artist/yulia-arsen/

know-how
(september, 2021)
Performance

30 minutes

The multibillion-dollar industries are dedicated to the religion of ecstasy. The economy of altered states are created only to turn off self-awareness. To give us a few moments of rest from the voices continuously sounding in our mind and to reach the state of "flow".

"Know-how" is a term for practical knowledge about how to achieve something, as opposed to "know-what" (facts), "know-why" (science). Know-how is often implicit knowledge, which means that it can be difficult to convey to another person through writing or verbalization. This phenomenon also refers us to the concept of "wu-wei" - a state of flow described in Eastern philosophies and compared with the activity of an artist who acts instinctively, spontaneously, without thinking about the reasons.

As part of the performance, performers try to achieve a state of ecstasy, due to various practices that exist today. Meditation, excitement, rhythm - it's not entirely clear which of these may really work. Maybe there are no magic techniques, but there is only the artist's know-how and the desire to somehow transfer it to another.

Idea - Yulia Arsen
Performed by Semen Farina and Yulia Arsen
Dj set by Evgenia Rom
Mentored be Alina Gutkina (Vasya Run)
As a part of collective exibition WINZAVOD Open studios #6
right here, right now. auto-colonial rave
(work- in-progress with the show premier by spring 2021)
right here, right now
auto-colonial rave

Rave party on the border of dance performance and total installation about russian eternal sense of our cultural "secondary". Rave came to us from the UK, performances-parties - from Berlin or Amsterdam, the newest theater - in Europe, well, how can Russian artists and audiences exist in all of this? We want to be like someone else, pursue originality, compare ourselves with everyone else. But rave is not a competition, not even a work on yourself. What if this practice of collective fatigue frees us from auto-colonial mood for at least an hour and a half?

Credits:
Yulia Arsen - director, choreographer and concept
Alexey Silaev - set designer
Nastya Nikolaeva - theme developer
Anna Kozonina - curator
Nika Gilmutdinova, Denis Basko, Alexey Yurkov, Ksenia Tchizhova, Lera Teploukhova, Vika Vaskina, Sergey Tchirkov, Larisa Alentieva, Lena Shirinkina, Simon Farina, Yulia Arsen - performers
Natasha Guliaeva - producer
Irina Kozlova - director`s assistant

Produced by RemPut festival 2020-2021

Photos - Alexey Kabelitskiy, Valentina Malgina

Laboratory in Kazan/Show me your love
(premiered December, 2021)
Show me your love
Laboratory in Kazan, Tatarstan

The group of dancers with very different backgrounds (prima balerina, b-boy, contemporary dancer, actress, vogue etc) were put in the situation of re-finding the very basics of dance and than to define the connections between each other in order to be able to perform as a group.

Dramaturgy was based on the playlist of pop songs about love, and performers aimed to manifest that which cannot be named. Something that is not virtuosity, technique, charisma, but only a flicker, a vulnerable glow

Credits:
Choreography - Yulia Arsen
Performers - Akeksandra Elagina, Ildar Alekbaev, Renata Garifullina, Ed Khabibullin, Rail Norinz, Albina Nugmanova, Aya Sadykova, Indira Khabibulina,
Special thanks to Venera Galimova, Ildar Alekbaev and svoboda.fest
Artistic statement
I was born in a typical Moscow bedroom district — a space with no clear cultural code, but full of visual cues of chthonic gloom, trash aesthetics, and mass culture. With nothing better to grab onto, I chose to dive straight into those aesthetics and use them as my main material.
My practice sits at the crossroads of dance, performance, and immersive installation, often flirting with club culture. I mix whatever comes to hand — anything that feels right — into a kind of emotional speedball, the kind you’d take to shoot yourself into the sky of your own despair.
I’m drawn to how mass forms — like school proms or discos — can be deconstructed and re-coded to make sense of post-Soviet symbols within the European context I live in now. Since moving to France, I’ve also started reflecting on cultural mimicry and auto-coloniality — how we internalize and reproduce what we think culture is supposed to look like.
In my work, I’m trying to break out of the local chthonic swamp and reach for something more universal — that shared sense of being lost, lonely, nostalgic.
Contact information
Let`s share, connect and exchange
+33780016784
julia.arsen@gmail.com
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