Daria Iuriichuk is a researcher of body politics, media, and visual culture. As an artist, she practices dance as onto-epistemology to investigate intersections of affect, perception, gender order, and labour.

In 2017-2019 Daria worked as part of zhvyu dance group [with Natasha Zhukova & Katya Volkova], a collaboration of movement researchers, practising choreography, dance and interactions. Since 2019 she works for politically/socially engaged documentary theatre with a focus on collaborative work.

Her works have been presented in Moscow, Saint Petersburg, Minsk, Helsinki, Berlin, Dresden, Zurich.

She has a BA in art history (Moscow State University) and an MA degree in culture studies (Higher School of Economics).

She was a researcher in the Education department at the Pushkin State Museum and a member of a research group on mediality of perceptual experience in visual culture in the School of Cultural Studies, Higher School of Economics, where now she is visiting tutor.

Besides research, making and performing, her practice also includes writing and lecturing.

Choreographer & performer. Performed in collaboration with the zh-v-yu dance group

Shown: SDVIG Studio for the Performing Arts (Saint Petersburg, 7.04.2018) and CCZIL (Moscow, 16.12.2017, 16.06.2018)

Based on my academic research "Fabrics of cinematics Screen Surfaces in Contemporary Visual Culture" (2018) awarded in 2017 as Best Student Research Award (HSE)

Landscape for the dead dog is a cybernetic paysage, reconfiguring relations between human and non-human agency. Through this contact, sensuality extends beyond the human body. Landscape is a melt of surfaces which choreography rebuilds the material world in a new reality. Perception of these materials in many forms relocates dance to the viewer's imagination.
Performance is dedicated to my dog, dead in 2017. I was interested to investigate how she perceived the world we share. According to the Ecological Approach to Visual Perception introduced by James Gibson, an animal (as well as human) perception is a whole-body root system that makes vision possible, responding to arrays of energy interacting with the surfaces of the environment.
Co-author, co-creator, performer. Created in collaboration with zh-v-yu dance group.

Shown: SDVIG Studio for the Performing Arts (Saint Petersburg, November 7, 2018), Multimedia Art Museum (Moscow, January 28, 2019), "What if they came to Moscow" showcase, CC ZIL (Moscow, March 23, 2019), Shelter (Helsinki, 7 June 2019), Hellerau (Dresden, January January 24-25, 2020), Kleine Humbolt Gallery (Berlin, February 1, 2020).

Welcome to our garden! Peep, listen, sniff! Stare, inhale, absorb! Enjoy! Here women and flowers spray the vital forces of nature. Do not get off the tracks! In our collection of flora and fauna woman is presented as a sexual object side by side to other objects of wildlife.
The Garden is a collection of exotic plants, searching for power in vulnerability. It is a research of affect and hybridity ironically built around the concept of objectification.
By monotonous hips-shaking, performers generate energy and charge the space and objects, mutate and allow other forms of life to express themselves. In search of images nobody has ever seen before, the creatures that have never existed, the Garden transforms into the pure experience of where the body ends and starts.

publications: Microchoreographies [Part 1, Part 2] (eng), "How to dance politically", Moscow Art Magazine #108 (rus)

Started as MA project: "Micro-choreographies: Dynamics Of Virtual Corporeality As A Way Of Organizing Visual [Social] Spaces" Program "Visual Culture" (School of Cultural Studies. Higher School of Economics, Moscow), developed within research group "Multimodality and mediality of perceptual experience in modern (visual) culture" (HSE, January 2018 - January 2019).

Presented: Conference for "Performative practices in Russia: strategies of hybridization" in Solyanka Gallery, International Scientific Conference "Theories and Practices of Art: Sociocultural, Economic, and Political Contexts"(HSE) and others.
Research. Microchoreography is the idea of emancipative choreography, which offers opportunities instead of discipline: instead of conforming to it, we can use it as a tool for mapping our movement from an internal perspective. This inalienable choreography, co-produced with corporeality that actualizes the virtual as a sphere of possibilities, connects thinking, seeing and movement into a single cognitive process. Microchoreographies are choreographies that deal with the virtual as a space of possibilities, so the (micro)choreographer's task is to create an environment for the emergence of space for a virtual experience, adopting cybernetic information theories, systems theory, and environmental philosophy. This active perception affects the materiality and generates new spaces.
[interview in CLOT mag]

Created in collaboration with Katya Pislari, Sasha Puchkova

Decolonization of imagination research school (February 8-10, 2019, Moscow)
The otherwise festival-as-research, H0 institute for Metamorphosis (March 1-3, 2019, Zurich)
The laboratory aims to find emancipatory possibilities within the everyday bodily practice as well as in investigating the impacts of intra-body relationships. We are concerned with devising alternative ways of producing and reproducing knowledge, which overlaps with their critique of contemporary art's ivory tower grammar. On the other side, they are also curious about the effects of the digital environment on offline processes and human behaviour.
Choreographer & performer.
Created in collaboration with a director Ada Mukhina and a dramaturg Olga Tarakanova. Based on the play by Gary McNair (tr: Anna Zhovtis).
Sound Design: Alica Kibin
Set Design: Sofa Skidan
Costume Design: Anastasia Kizilova
Light Design: Elena Perelman
Performers: Alexandra Dolgova, Alice Kibin, Anastasia Kovalchuk, Ada Mukhina/Ekaterina Abramova, Kolya Neukolln, Olga Tarakanova.

Premiered - June 4, 2019, at the Meyerhold Theatre Center (Moscow, Russia).
The winner of the Black Box Residency 2018/2019 at the Meyerhold theatre centre. Chosen for the off-program "Mask Plus 2020" (Russian National Theatre Award "Golden Mask").
Male sexist texts performed by female bodies. Locker Room Talk is a utopian performative conference that explores the self-titled documentary collection of male sexist monologues and conversations recorded by Scottish playwright Gary McNair.

Created by a solely female* team, the performance stages bodily resistance to the humiliating discourse and functions as a site for affective knowledge production. Instead of performing the piece we quoted and described the most striking parts of these conversations and deconstruct the situations that these men refer to. Genres of presentations, each based on one chapter of a playing range from "instruction paper" to "success story" and "verbatim rap". Locker Room Talk culminates in a "training episode", which, through Forum Theatre, invites willing audience members to challenge the use of sexist language and sexist communication strategies on stage.

Created in collaboration with Olga Tarakanova

Zine with teaching materials "how to be feminist in theatre" (forthcoming )

The success of the "Locker room talk" inspired us to proliferate feminist practices. Gender study group is the series of seminars and a zine dedicated to how to watch performances with feminist optics and how to create performances with feminist ethics. We combine visual studies with bodily and collaborative practices to investigate:
  • how to watch performances through "gender glasses",
  • how to compile your own "catalogue of sexism" in the Russian theatre: what stereotypes are reproduced,
  • what feminist theories will help write a critical article,
  • how to build a workflow ethically concerning all its participants and participants:
  • what feedback methods exist,
  • how to organize work horizontally and collaboratively,
  • how to make artistic and organizational decisions in such a structure.
Co-author and co-creator. Devised
in collaboration with Ada Mukhina,
Olga Tarakanova, Alena Papina
Sound Design: Leonid Imennyh
Media Design: Katya Pislari
Set Design: Aleksandra Alekseeva
Light Design: Sergey Vasiliev
Performers: Alena Papina, Olga Tarakanova, Daria Iuriichuk, Ksenia Anikeeva, Asya Belaya, Natalya Zaitseva, Nu Simakina.

Premiere - October 1, 2019, At The Meyerhold Theatre Center (Moscow, Russia).

Selected For The Russian Case 2020 Of The Golden Mask, A National Theatre Award

Publications: Caries Of Capitalism: A Statement (Eng)
A politically engaged participatory performance about precarity, money, and labour inside the theatre industry.
Caries (cavity) of Capitalism was born as a joke about the similar pronunciation of the words 'caries' and 'precarious' in a lunchtime conversation in search of commons during a week-long BlackBox Residency at the Meyerhold Theatre Centre in Moscow, unpaid and providing no food and accommodation.
We aimed not only to share our personal experience and concerns but to raise the general awareness of precarity and to mobilize the community. So we invited four more precarious theatre workers to join our team. During the rehearsal month of (modestly) paid work, they designed their projects addressing precarity and exploitation. On stage, they present their ideas to the public and compete for a quarter of the money earned from tickets, while Alena, Daria, and Olga provide information on precarity and reflect on whether Caries of Capitalism could be considered less exploitative than 'BlackBox Residency', or if the performance is just another project that disguises bad working conditions as subversive art.


Created in collaboration with Nastya Dmitrievskaya

Research session at research school "Labour studies" (March 2-7, 2020)

Fatigue, anger, confusion: nonexistent or invisible strikers (rus)

Lections and public talks:
Art-conference "Gift and Labor" by CtoDelat art group, Public talk on art-labour in Tretyakov Gallery, Lection in The School For A New Cinema.
Media aсtivist group called Kafe-Morozhenoe that problematizes art-labour. The project aims to raise awareness of precarity in the art community by collecting information, conducting research and maintaining direct actions.
The project is an extension of Nastya's initiative that I participate in, called Series of Girdling Reports, June 21 - 28, 2019, Winzavod, Moscow. A 3-days-conference dedicated to the problems of invisible labour in contemporary art, its institutions, and communities. My report was dedicated to wage problems in contemporary dance in Moscow.
Currently, we elaborate on "scandal-workshop" - research dedicated to strategies of making labour problems visible.


Author and co-creator. Created in collaboration with Anna Kozonina

SDVIG Studio for the Performing Arts (Saint Petersburg, Russia. December 28, 2019)

Romantic ballet is one of the main pride of Russian culture. The central figure of romantic ballet is a ghost girl: she is either dead (such as Giselle) or a spirit. Romanticism fantasizes about other worlds inhabited by air spirits sylphs, brides who die before the wedding called vile and fairies. Edgar Allan Poe believed that the death of a beautiful woman is without any doubt the most poetical subject in the world.
The image of a dead woman connected with the separation between the mind (represented by men) and the "passive matter" of a body (represented by women) in Westen modernity. The body may die, but the spirit and mind are immortal. The body alludes to death, therefore it causes horror. Giselle is an uncanny combination of both.
"Giselle, cut version" is a research on the popular image of the Romantic ballerina as an otherworldly, ethereal being. Ballerina turns out to be a monster that incorporates fear, desire, anxiety and fantasy. Monsters produce affect but we are unable to watch or describe them. They escape classification as well as neutral and safe interaction.
Contact me
daria.yurychuk@gmail.com| fb | instagram
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