Yulia Nemova is a Tashkent-born artist, architect, and director working at the intersection of contemporary art and architecture. Her work integrates XR, neurophotogrammetry, video installation, performance, and hand graphics, treating space not as a backdrop for human action but as a participant with its own properties and behavior. Across these media she investigates invisible architecture — the layers of data, digital presence, and accumulated memory that inhabit a place in parallel with us, and the regimes of visibility through which they surface.
Yulia graduated from the Moscow Architectural Institute (MArchI) and in 2025 received a Master's degree in Art and Design Education from HSE Art and Design School. She teaches on the environment design preparatory programme at HSE and has authored courses at the INTEK school in Moscow. Since 2015 she has directed concept and documentary films for architecture studios including UNStudio, Steven Holl, IND Architects, and Anthony Béchu & Associés. Her work has been shown at the State Tretyakov Gallery, the Shchusev Museum of Architecture, HSE Gallery, Winzavod, and the Ekaterina Cultural Foundation in Moscow; at APT Thresholds in London; and in the Wrong Biennale Memory Pavilion. She has held residencies at Winzavod Open Studios, Workhouse Assembly (Ireland), and the international XR residency Digital Autumn.
Her total installation Liminal.tmp turns an entire gallery into a hybrid environment where digital visitors move among real ones and a live camera folds the viewer into a projected three-dimensional space, until hybridity stops being an idea and becomes something the body registers directly.
Corner, a site-specific video work shown in a Bermondsey apartment in London, turns a domestic corner into a threshold: digital shadows pass through the same corner the viewer occupies, and in the silent intervals the screen becomes indistinguishable from the room.
In Server Room, the metre-thick walls of a 17th-century building become a shell — behind a tear in brick-printed fabric opens a server hall holding the digitised memory of the museum.
Living Lyuda is a VR digital twin of a gallery that behaves like an organism, its structure reshaped in real time by sound, water, pressure, and the sense of human presence.
Her printmaking — including the Living series, where soft leather replaces linoleum as a printing matrix and deforms into unrepeatable patterns — runs in parallel to the digital work, investigating the same questions of contact and transformation through material rather than computation.
Working across material unpredictability and digital precision, Nemova approaches each place as something that responds, adapts, and exists in time — investigating the coexistence of different regimes of presence as the actual condition of how we inhabit space today.
