INSTALLATIONS
|
PRINTS | |
|
||
/ˈkaməˌflä(d)ZH/ , 2017 - a new interactive installation was presented as a fashion show of ‘art-to-wear ‘ collection and included a “runway” performance - a procession of models marched down a golden catwalk to the soundtrack of military marches, cadences and chants. Frequently crossing boundaries between art and design Julia Nitsberg often employs printing, collage and direct fabric manipulation as a creative response to the most contemporary fashion trends.
PII gallery, 242 Race street, Philadelphia |
|
Merry, Merry… Quite Contrary! a sculptural installation 2 December 2016 - 2 January 2017 PII gallery, 242 Race street, Philadelphia |
|
Overcome Obstruction-1, 2014 for Art & Parentés, at Mairie du 8e arrondissement - 3, rue de Lisbonne - 75008 Paris |
|
Betterment, 2014 for Art & Parentés, at Mairie du 8e arrondissement - 3, rue de Lisbonne - 75008 Paris |
|
Anachronisms, 2012 for Donner du temps au temps, at L’espace d’animation des Blancs Manteaux, Paris Anachronisms is a wall installation that consists of 6 handmade uncut books, each contains the images of old or obsolete cultural artifacts - anachronisms, that can be regarded timeless or out of time. |
|
TheWORK (PART I, DEN HAAG, HOLLAND) an interactive site-specific installation and workshops in public project space that reflects my interest in collective experiences. The objective of this work is to relate the material and spiritual construction. I wish to explore the positive nature of a creative impulse in hope of breaking the Uroborus of contemporary art, in which the cycle of destruction and deconstruction themes had led to the canonization of the negative impulse. |
|
Monolithos Monolithos - an interactive public workshop has the intent to create a communal handprint tablet, where each individual fingerprint becomes a decorative pattern of intricate texture, as found on human prehistoric pottery. |
|
The Eighth Day 2008, mixed media installation that consists of wall-drawings, spray-paintings and sculpture; at Messineo Art projects/ Wyman Contemporary. The exhibition was inspired by the vision of Russian philosopher N. Berdiajev of the Third Epoch - the “Eighth Day of Creation”. He believes it to be the final chapter of universal history that includes humans and begins with their fall and expulsion from Paradise. The core of the installation is a sculptural loop formed as the Mobius strip. All along its surface the cutout soldiers are marching aimlessly trapped in a vicious circle. |
|
Add-dressing Public art temporary interactive installation in NYC transforming newly designed 23rd Street trash receptacles by dressing and topping them with fanciful “flower arrangements.” By placing an oversize creative bouquet on top of the trashcan I aspire to catch attention of rushing pedestrians with a universal image of beauty, - flowers: The project was produced in coordination with Art in Odd Places during summer residency at SVA. |
|
Rock-ko-ko This exhibition reveals the results of a creative collaboration between two artists: Russian-American sculptor, Julia Nitsberg, and Russian-French painter, Vladimir Titov, paired for the first time. They share a common interest to devise a new approach to the picture plane, attempting to intersect painting with sculpture. Working independently of each other on different continents, Nitsberg and Titov have created a series of works that comment on contemporary trends in art, on painting itself, and on the fascination with lust, decay and decadence in contemporary Russian society. |
|
Study for the Third Temple Provocation for the Third Temple, 2008, 13 ready made 6" metal-plated acrylic dome-mirrors, 12 painted metal rods. This floor installation made for an exhibition "Jerusalem Celestial, Jerusalem Terrestrial was a meditation on a temple diagram. |
|
Jerusalem terrestrial, Jerusalem celestial (Western Wall) Kotel I, 2007, Florence and Kotel II, 2008 Paris Installations made with 248 readymade Duro brown and white paper bags, each shaped, stamped and signed, all attached to the black paper background, coffee, crude salt, 18' x 9' x 2 The duality of Jerusalem - above and below - and the connection between the two realms is the general scheme of my installation that embodies the theme of metamorphosis. From Solomon’s Temple of marble and gold, the new Temple is transformed into a Temple of air. Faith and memory comprise the invisible structural core. |
|
Annunciation In the depth of the arched vaults one can hear wings rustle, Papers whisper, hiss, swish, softest cooing in tiny castle. A white dove flies through the window into quietness of convent court Where Angel lifts up his wings and bends down to grant report. |
|
Laocoon phantom |
|
East of Eden The installation “East of Eden” is a reflection on natural surrounding and primordial memory. |
|
Crossroads, (a part of the ‘Landscape in the interior’) 2001-2006, bench, each section 4’x 8”x2”, hard wood, steel rivets, is a sculptural sitting that resembles and serves as a public bench. It consists of 12 sections of equal length joined together with large industrial steel rivets. With each segment positioned on a gradually increasing level, the sections together form a receding chain. It creates the effect of a ladder or steps that suggests spiritual ascension, evolution and growth. The surface of the bench was carved and imprinted with images and words, fragmented and graffiti-like, resembling old wooden park benches. The prototype for this bench was a carpenter’s ruler that is a metaphor symbolizing the dynamic of conceptual and physical measure
|
|
Post Factum, 2002, was the first installment in a series of Julia Nitsberg’ exhibitions that are reflections on the events and the aftermath of the September 11 attack on the World Trade Center NYC United States and the rest of the civilized world. |
|
Urbi et Orbi, (‘To the City and to the World’) 2002-04, an architectural model of the WTC Memorial Project, top view, 3’x3’x 11”, cardboard, wood, Plexiglas, rubber. |
|
Between wind and water, 2001, interactive installation; wood, metal, 12 electrical motors, plastics. |
|
Landscape in the Interior, 2000-01, multi-media installation: sculpture, drawings, video. “Landscape in the Interior” is a continuation of my work about Fresh Kill, the Staten Island municipal dump. The focus of the installation is on civilization, its waste and entropy. It was conceived as a reminder of our abdicated responsibilities towards nature and the future. |
|
The Ultimate Shopping, 1999-2000, installation with brown paper bags at Pleiades Gallery, NYC |
|
Room with a View, 1998, the multi media installation that referenced the ‘Fresh Kill Staten Island Municipal Garbage Dump’ and environmental issues such as man’s careless attitude towards nature and the future. | |
Tabula Rasa, 1996, wood, detail of the interactive multimedia installation for an exhibition Frying N. Pate, at Newhouse Center for Contemporary Art, NYC |
|
Dali Happy/Dali Sad, 1997, Diameter: 24 inches |
|
Grandfather’s Clock, 1994, wood, metal and glass
|
|
InkDance, 1995, wool, rice paper, wood and horn: two sculptural collages exhibited at Pleiades Gallery, NYC |
|
Mimicry, 1995, exhibition “Transparent Confinements” at Newhouse for Contemporary Arts; Plywood, aluminum, stretched nylon netting, wire; 4.5’x2’x2’ feet |
|
Touch-me-not M.D. 1992, at The Newhouse Center for Contemporary Arts, readymade plaster bust, office chair base, hardware and barbwire, glass; 2’x2’x6’ feet. |
|
And there was evening, and there was morning… 1992, Pleiades Gallery, |
|
Swarm, 1991, Pleiades gallery; wood, metal, strings, 400 paper planes; 4’ x 4’x10’ feet |
|
Leaning tower, 1991, at Pleiades Gallery, Readymade Styrofoam plates and cups, plastic forks, wood, metal; height: 12’ x 6’ diameter; |
|
|
|