Four Annoying Topics
Curator: Tolkovsky Zvi
15 Mar — 24 May, 2014
The inner creative world of Magdalena Hefetz operates like a two-stage mechanism. It is supported by, and draws on, snapshots and memories from her European past; while openly confronting a Middle Eastern existence, which brings together everyday segments of coarse language, local slang and sociopolitical street talk. Magdalena’s ideological investment and her defiance against acts of obfuscation and silencing are the raw materials that define her work.
The texts inscribed on the ceramic surface, sometimes comprising just a single word, present us with complex keys for deciphering the artist’s work. Magdalena casts the thing itself as a practical-ceramic essence, which purposefully destroys and dismantles in a move to “give birth” to a work that is wholly made up of reorganization; an archaeological restoration of sorts. The fracture caused by penetration and interruption from the outside is “restored,” making the transformative existence of Magdalena’s works possible.
Magdalena has no need for inspiring props, or ready-made objects; she is not a collector. Therefore, her working surfaces, the carton cross shaped ceramic reliefs for example, are a mere echo, a catalyst for creating a minimalist series of “surface and signification.”
In her most recent series of works, Magdalena creates as though caught up in a poetic circle of inevitability, epitomized in the verse “for you are dust and to dust you shall return.” For a moment, her works become detached from the ground to be displayed vertically. This is perhaps the result of a hidden craving for intimacy and in invitation of a close inspection that would permit the viewer to take in the principled, ideological messages of her works.