Kuba Falk (b. 1984) is a performer and intermedia artist who treats the body as a transmitter of history and identity. He trained at the Academy of Theatre Arts in Kraków and the Academy of Fine Arts in Kraków, and studied at the Jagiellonian University; he considers his encounter and work with Robert Wilson formative.

Falk's work spans performance, video, sound, installation, photography, and text. The central theme of his practice — pursued both in art and in life — is identity, including in its "queer-quantum" dimension. Falk treats the body as a space of transfer through which histories and identities flow, examining them in relation to technology and nature: ecological memory, political geography, and the "meta-genealogies" of ancestors. He pursues these inquiries along two tracks — on one hand through attempts at non-anthropocentric narratives, giving voice to plant ancestors and non-human communities, and on the other through work with imaging, representation, and the mutual objectification of body and image. He defines his practice through the concept of bodytales — performances in which narrative is not transmitted as a message but is instead reconstructed on the viewer's side, differently each time. This methodology is held together by the concept of narrative neuroplasticity — the body's capacity to rewrite its own patterns of perception and, through radical presence, to trigger analogous processes in viewers.

Falk regularly presents his work at exhibitions and festivals. Deep Moon, Pluto (2023), developed together with Zbigniew Bzymek, explores the relationship between image and body through a process of mutual objectification, reversing the traditional hierarchy between the one who images and the one who is imaged. Norayama (2024) weaves the artist's personal history — born in the former Prussian territories — together with war and displacement, while Invasive Species (2024) takes up themes of migration, shelter, and belonging. In Divine Assistance (2025), the artist uses suspension and body painting with vegan paints, exploring bodily taboo and the limits of social acceptance.

A significant strand of his practice is participatory and communal action. With the duo cyber nymphs (Justyna Górowska and Ewelina Jarosz), he co-created — together with Annie Sprinkle, Beth Stephens, and Agnieszka Szpila — the Hydrosexual Healing Clinic (2024), a happening based on the original format developed by the American ecosexual art elders. He produced a series of interviews, Ecofeminism in the Practice of South American Artists (supported by a Poland's National Recovery Plan / NextGenerationEU grant), and in Upper Silesia led workshops culminating in happenings celebrating rivers affected by mining industry pollution.

Falk's work has been shown in venues including the Baryshnikov Arts Center and Grace Exhibition Space in New York, The Watermill Center on Long Island, Hamburger Bahnhof in Berlin, Defibrillator Gallery in Chicago, Ewa Opałka Gallery, and the Museum of Pharmacy in Warsaw, as well as at festivals including the Watts Festival in Porto, the Festival of Naked Forms in Prague, Carbonarium Festival in Kyiv, and the Stre!fen Performance Art Festival in Görlitz. He has repeatedly taken part in the Flow/Przepływ residency on the Vistula River. Each of these events documents, in its own way, the evolution of his practice.

He has received grants from the Ministry of Culture and National Heritage, the Adam Mickiewicz Institute, and the Polish Cultural Institute in New York. Under the Culture Moves Europe program, he completed a residency in Porto. In 2010 he won the Grand Prix for the video performance Bodyscreen, and in 2015 the Classics Alive Award for his directorial debut Old Woman Breeds.

Kuba Falk's work — from ecological grief and myth to queer cosmology and the memory of the body — makes of corporeality both a source of narrative and an instrument of transmutation. Combining ecological and mythological reflection with the study of liminal experience, he builds a bridge between the personal and the planetary, framing performance as a practice of both transgression and care.