In 1996, she pays homage to the writer Clarice Lispector in the Unicamp Gallery.  Organized under the form of installation, painting or sculpture - its material obeys an order by contiguity, mimicking the writer´s process of creation.

 

Also in 1996, she begins a search that was split into many exhibitions, using paper files displaced from their surroundings, gaining new texturing, raising an activing public participation. This experience takes place in the Paulista Avenue.

 

In 1998, the artist revisits the files and exhibits them outside the Art Museum of the Americas in Washington, USA. Giving them such a treatment, that makes them seem as sprouted from the earth.

 

In 1999, the files reappear in an installation at SESC Pompéia in Sao Paulo, added with two new elements: the expansion and freezing of the six drawers content, showed still.

 

In 2000, the artist performs an exhibition entitled Blank Memories, honouring the poet Paul Celan, at the Martin Lutherkirche Cultural Center in Cologne, Germany

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In 2001, the Pinacoteca of São Paulo acquires for its collection an artist´s sculpture entitled Pieta. The sculpture is on display in the Garden of Light, the Pinacoteca´s Sculpture Garden.

 

The constant production of the artist is often exhibited in museums and events such as the exhibitions: Poetry of Nature and A World Without frames, curated by Katia Canton at MAC - the Contemporary Art Museum of São Paulo, both in 2008 and 2009, respectively.

 

Nair Kremer is an Art Educator, exercising this office since 1977. In addition to her individual projects and research, she works as a teacher and supervisor in art. Her performance reflects the belief that through the culture and the access to art, we can awaken several strengths that are able to transform ourselves and our actions in the environment in which we live in.

 

This posture, awakened since a young age with readings from Herbert Read, Education through Art, includes the recognition of differences and the constant reflection on the collective and individual values.

 

After all, her experience on the kibbutz, her studies in art, psychology and art education and her post-graduation degree in therapy through art favours the creation and development of specific projects in different social reality found - as in the projects carried out in the outskirts of São Paulo and other regions of Brazil. 

 

Nair was responsible for the introduction of cultural workshops at Casa do Zezinho, a non-governmental institution, which operates in the outskirts of São Paulo. Also based on her long experience, she´s the pedagogical advisor of the Anchieta Project, creating a non-formal education methodology guided by the power of creative action (theatre workshops, music, cinema, physical education and visual arts).

 

In 2004, she published by Edusp, a book called Displacement, recording the progress of the work developed at Casa do Zezinho. Conducted a project at the Family School program of the São Paulo State Education. This work resulted in an exhibition at Mam, whose achievement was a partnership between the Department of Education, the “Join in” Volunteer Center and the Museum of Modern Art.

In 1984, Israel took part in the 1984 group exhibition at MASP.

She represented Israel at the 18th São Paulo Biennial in 1985. In 1986, she exhibited at the Contemporary Art Museum of Budapest as a guest artist. She received the Grand Gold Medal Hall Bunkio in São Paulo. In 1988, she participated in the 40 Years of Sculpture exhibition in Israel - one of the country largest exhibitions of the history - with an artwork that has become part of the sculpture garden of the Museum of Tefen, Israel. In 1989, she made a solo exhibition at the Contemporary Art Museum of São Paulo (Mac). Three of her works become part of the New York University Collection (NYU) in 1990. She participates in the exhibition at Pindar Gallery, NY, and the International Congress debate sculpture in Washington, USA. In 1991, she makes an installation at the Art Museum of the Americas in Washington, and two of her sculptures become part of the permanent collection of the museum. In 1992, she was in a solo exhibition on the Bridgeport beach, USA, Bridgeport University. In 1993, she carries out “Clone I” an installation settled in the banana plantation camps in Rosh Hanikra, Israel. In 1994, carries out ”Clone II” in Aichi Prefectural University of Fine Art Museum, Japan, and participates in a itinerant exhibition by some leading museums under the rubric of Hundred Years of Brazil /Japan Friendship, in Japan.