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Natalia Papaeva

Natalia Papaeva

Bereich: Performance, Video Art

© Natalia Papaeva

© Natalia Papaeva

© Natalia Papaeva

© Natalia Papaeva

© Natalia Papaeva

© Natalia Papaeva

Key Facts


Niederlande / Russland


Performance, Video Art



Empfehlende Institution

frei_raum Q21 exhibition space


August 2020 - September 2020

Natalia Papaeva (1989) was born in Orlik, a small village in Buryatia, Siberia. She moved to The Netherlands to study at the Royal Academy of The Hague. She graduated in 2018 with the video work Yokhor, winning both the department prize of the Royal Academy and the TENT Academy Award. In 2019 Papaeva was shortlisted for the Sybren Hellinga art prize. Drawing from her own experiences and feelings of anger, loneliness and alienation, Papaeva makes intense, raw performances that touch upon universal themes.



Haagse Kunstkring “On Your Own”, September 26-29. 2018, The Hague.
UBIK, Kill your darlings, October 11.2018, Rotterdam.
Modern Body festival “Alien Bodies”, October 26 – 28.2018, The Hague.
Off screen, WORM, November 18. 2018, Rotterdam.
Radio in a bathtub, Moira, December 8. 2018, Utrecht.
About 761 per miles per hour, December 16. 2018, Amsterdam.
This Art Fair, December 27-30.2018, Amsterdam.


Tent, IFFR, January 23-February 3, 2019. Rotterdam
Survival 17, Wroclaw, Poland, June 28 - 2 July, 2019.
So far, so close, Haarlem, The Netherlands, July 13-11 August, 2019
Who am I becoming, Slash Gallery,Rotterdam, September 2019.
Sybren Hellinga prijs, October 19 - 3 November, 2019.
Toiyamachi studio, Kanazawa, Japan, December 3-22, 2019


IFFR, RTM&Off screen, 24.01.2020


Department prize for the best work, Royal academy of art,The Hague, 2018.
TENT Academy award for the best video work, TENT,Rotterdam, 2018.
Shortlisted for Sybren Hellinga prijs 2019.


CBK Rotterdam, Research and development grant for the project "Who am becoming", 2019.


"Art_Transparent", "VHGD", Wroclaw, Poland, 2019.
Cove Park, Scotland, July, 2019.
Toiyamachi studio, Kanazawa, Japan, 2019


I was working on a new performance right before COVID-19 hit Europe. I was effectively "on pause" and I have still not finished the performance yet - the one meant for April's Stockholm Supermarket Art Fair. That`s why I am going to focus on polishing and improving my performance for the rescheduled Fair in the autumn. I am curious to see if the performance I was working on has changed because of the quarantine. Since COVID-19 struck I also became concerned about how challenging it was to be an Asian person, especially outside. People call me “Corona” on the street, in addition to the old callnames, such as: “Nihao, Arrigato and poepchinees”. In my new performance I want to reflect on the demonization of Asian people. My focus will be on the use of languages because I believe that a language is a powerful tool which literally opens up new worlds.  Language is a "physical evidence" of being a foreigner, or being one of the locals. I am going to focus on experimenting with language as a tool in my performances. Mixing, learning, researching, speaking loudly with horrible and horrifying accents. That is going to be my artistic practice this year.

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