Anna Lublina
Anna Lublina (they/them) plays with invented language, physical theater, puppets, unconventional instruments, ancestral rhythms, and stewardship between humans and the more-than-human world to affirm and celebrate life in the borderlands. Based between Berlin and New York City, Lublina makes performance and community-led projects in theaters, museums, gardens, and anywhere people congregate. As a child of Soviet Jewry, they draw on the practices and aesthetics of Jewish diasporism, Soviet avant-garde/nostalgia, Jewish witchery, and the queer underground to ask questions and propose fantasies for anti-nationalist futures.
Lublina’s performances have been shown in places like St. Ann’s Warehouse, Künstlerhaus Mousonturm, Judson Church, the 14th St Y, The Bloomfield Science Museum, Center for Performance Research, Bread and Puppet Theater, and more. They have been supported by fellowships and residencies such as Akademie Schloss Solitude (upcoming), CEC Artslink Fellowship in Uzbekistan (2024), ID Tanzhaus Frankfurt (2023), the International Jerusalem Fellowship (2022), Helix Fellowship at Yiddishkayt (2020-2022), and Plyspace Fellowship with Ball State University (2021). Lublina has worked as a director and dramaturg for many artists including Julie Weitz, Gry Tingskog, and Andros Zins-Browne. They have an MA in Choreography and Performance from Justus Liebig University Gießen (ATW) and a BA in Art History from Reed College. This year, Lublina is a CEC Artslink Fellow in Bukhara, Uzbekistan, a Mar‘a’yeh LABA Berlin Fellow at Künstlerhaus Bethanien, and a 2024 recipient of the Ottilie-Roederstein award for female* artists. Their newest work “Rhythm in Sediment” will premiere at Produktionshaus NAXOS in March 2025.
Artworks
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As a preamble to a larger card game about Muslim-Jewish conviviality and post-nation-state futures, Rüzgâr Buşki and Anna Lublina present three hand-printed works inspired by Ketubah art and the tiles of Al-Aqsa Mosque. Each piece embodies the textures of coexistence within ancestral worlds—music, printing, food, or art—and examines how these forms have been dissected or altered to fit Western cultural grammars, or disappeared in the name of ethno-nationalism.