{"id":20749,"date":"2024-06-27T17:15:00","date_gmt":"2024-06-27T15:15:00","guid":{"rendered":"https:\/\/www.smadarsheffi.com\/?p=20749"},"modified":"2024-06-28T18:11:36","modified_gmt":"2024-06-28T16:11:36","slug":"%d7%94%d7%98%d7%99%d7%99%d7%aa-%d7%94%d7%94%d7%95%d7%95%d6%b6%d7%94-%d7%91%d7%95%d7%92%d7%a8%d7%99-%d7%95%d7%aa-mfa-%d7%91%d7%90%d7%9e%d7%a0%d7%95%d7%99%d7%95%d7%aa-%d7%91%d7%91%d7%a6%d7%9c%d7%90","status":"publish","type":"post","link":"https:\/\/www.smadarsheffi.com\/?p=20749","title":{"rendered":"\u05d4\u05d8\u05d9\u05d9\u05ea \u05d4\u05d4\u05d5\u05d5\u05b6\u05d4 – \u05d1\u05d5\u05d2\u05e8\u05d9.\u05d5\u05ea MFA \u05d1\u05d0\u05de\u05e0\u05d5\u05d9\u05d5\u05ea \u05d1\u05e6\u05dc\u05d0\u05dc 2024 MFA graduate exhibition Bezalel The Bias of the Present"},"content":{"rendered":"\t\t
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For English Click here<\/a><\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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\u05e4\u05e8\u05e4\u05d5\u05e8\u05de\u05e0\u05e1 \u05d9\u05e2\u05de\u05d5\u05d3 \u05d2\u05dd \u05d1\u05de\u05e8\u05db\u05d6 \u05e2\u05d1\u05d5\u05d3\u05d5\u05ea \u05e0\u05d5\u05e1\u05e4\u05d5\u05ea, \u05de\u05e1\u05e7\u05e8\u05e0\u05d5\u05ea \u05e9\u05d4\u05d7\u05dc\u05dc\u05d9\u05dd \u05e9\u05dc\u05d4\u05dd, \u05db\u05de\u05d9\u05e6\u05d1\u05d9\u05dd, \u05d0\u05d9\u05e0\u05dd \u05e9\u05dc\u05de\u05d9\u05dd. \u05d4\u05db\u05d5\u05d5\u05e0\u05d4 \u05dc\u05e4\u05e2\u05d5\u05dc\u05d4 \u05e9\u05dc \u00a0\u05d0\u05d5\u05e8\u05df \u05de\u05d0\u05e1\u05d8\u05e8\u05d5 \u05e1\u05d2\u05dc<\/strong> \u00a0\u05e9\u05ea\u05d0\u05e4\u05d4 \u05d1\u05db\u05dc \u05d9\u05d5\u05dd \u05dc\u05d7\u05dd \u05d1\u05d7\u05dc\u05dc \u05d4\u05de\u05d1\u05d5\u05e1\u05e1 \u05e2\u05dc \u05de\u05d8\u05d1\u05d7 \u05d1\u05d1\u05d9\u05ea \u05d4\u05d5\u05e8\u05d9\u05d4 \u05d1\u05e7\u05d9\u05d1\u05d5\u05e5 \u05d5\u05dc\u05de\u05d9\u05e6\u05d2- \u05de\u05d5\u05e4\u05e2 \u05de\u05d5\u05e1\u05d9\u05e7\u05dc\u05d9 \u05e9\u05dc \u05dc\u05d9\u05d0\u05d5\u05e8 \u05d2\u05e7\u05dc\u05e8<\/strong> \u00a0\u05de\u05d9\u05e7\u05dd \u05e4\u05e1\u05e0\u05ea\u05e8 \u05d5\u05db\u05dc\u05d9 \u05e0\u05d2\u05d9\u05e0\u05d4 \u05d5\u05de\u05db\u05e9\u05d9\u05e8\u05d9 \u05d4\u05e7\u05dc\u05d8\u05d4 \u05e0\u05d5\u05e1\u05e4\u05d9\u05dd \u05d1\u05de\u05d1\u05d5\u05d0\u05d4 \u05e9\u05dc \u05d4\u05e7\u05d5\u05de\u05d4 \u05d4\u05e2\u05dc\u05d9\u05d5\u05e0\u05d4 \u05e9\u05dc \u05d4\u05d1\u05e0\u05d9\u05d9\u05df \u05d5\u05d9\u05d5\u05e4\u05d9\u05e2 \u05d1\u05d4. (\u05d0\u05ea \u05e9\u05e0\u05d9 \u05d4\u05de\u05d9\u05e6\u05d2\u05d9\u05dd \u2013 \u05e4\u05e2\u05d5\u05dc\u05d5\u05ea \u05dc\u05d0 \u05e8\u05d0\u05d9\u05ea\u05d9)<\/p>

\u05e2\u05d5\u05d3 \u05d1\u05d5\u05dc\u05d8\u05d9\u05dd \u00a0\u05d3\u05e4\u05e0\u05d4 \u05d0\u05de\u05d9\u05e8\u05d4<\/strong> \u05d4\u05de\u05e6\u05d9\u05d2\u05d4 \u05d1\u05de\u05e7\u05dc\u05d8 \u05e6\u05d9\u05dc\u05d5\u05de\u05d9\u05dd \u05e9\u05dc \u05e4\u05e8\u05d9\u05d8\u05d9 \u05e8\u05d9\u05d4\u05d5\u05d8 \u05de\u05e9\u05e8\u05d3\u05d9\u05d9\u05dd \u05d5\u05e1\u05d1\u05d9\u05d1\u05d5\u05ea \u05d1\u05d9\u05ea\u05d9\u05d5\u05ea \u05de\u05e0\u05d5\u05db\u05e8\u05d5\u05ea;\u00a0 \u05de\u05d9\u05e6\u05d1 \u05e1\u05d0\u05d5\u05e0\u05d3 \u05d5\u05ea\u05d0\u05d5\u05e8\u05d4 \u05e9\u05dc \u05d9\u05d0\u05df \u05d1\u05d5\u05dc\u05d8\u05d5\u05d1<\/strong> \u05e9\u05d9\u05e6\u05e8 \u05de\u05d7\u05d6\u05d5\u05e8 \u05e9\u05dc \u05e9\u05e7\u05d9\u05e2\u05d4 \u05d5\u05d6\u05e8\u05d9\u05d7\u05d4 \u05d1\u05e9\u05dc\u05d5\u05e9\u05d4 \u05d7\u05dc\u05d5\u05e0\u05d5\u05ea \u05d7\u05dc\u05d1\u05d9\u05d9\u05dd, \u05db\u05e9\u05dc\u05e8\u05d2\u05e2 \u05d4\u05dd \u05e0\u05d4\u05e4\u05db\u05d9\u05dd \u05dc\u05e9\u05e7\u05d5\u05e4\u05d9\u05dd \u05d5\u05dc\u05e6\u05d5\u05e4\u05d9\u05dd \u05de\u05ea\u05d2\u05dc\u05d9\u05dd \u05de\u05d0\u05d7\u05d5\u05e8\u05d9 \u05d4\u05e7\u05dc\u05e2\u05d9\u05dd \u05e9\u05dc \u05d4\u05e4\u05e2\u05d5\u05dc\u05d4 \u05d4\u05de\u05d3\u05de\u05d4 \u05d8\u05d1\u05e2. \u05d2\u05dd \u05d4\u05de\u05d9\u05e6\u05d1 \u05e9\u05dc \u05d3\u05e0\u05d9\u05d0\u05dc \u05dc\u05d9\u05d1\u05e8\u05de\u05df<\/strong> \u05d1\u05d5 \u05d0\u05de\u05d4 \u05d5\u05d4\u05d9\u05d0 \u05de\u05ea\u05d1\u05d5\u05e0\u05e0\u05d5\u05ea \u05d1\u05d6\u05d9\u05db\u05e8\u05d5\u05df \u05d4\u05de\u05e9\u05e4\u05d7\u05ea\u05d9 \u05d3\u05e8\u05da \u05d1\u05d9\u05ea \u05e1\u05d1\u05ea\u05d4 \u05d9\u05e4\u05d4.<\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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Danielle Liberman, Mom and I in my grandmother's Ashtray, 2024, Archival inkjet print<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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\u05de\u05d2’\u05d3\u05d9 \u05d0\u05e9\u05d4\u05d1<\/strong>,\u05e9\u05d4\u05de\u05d9\u05e6\u05d1 \u05e9\u05dc\u05d5 “\u05d1\u05d9\u05df \u05d4\u05d0\u05d3\u05dd, \u05d4\u05e2\u05e5 \u05d5\u05d4\u05d0\u05d1\u05df “, \u05de\u05ea\u05d9\u05d9\u05d7\u05e1 \u05d9\u05e9\u05d9\u05e8\u05d5\u05ea \u05dc\u05de\u05dc\u05d7\u05de\u05d4, \u05d9\u05e6\u05e8 \u05d1\u05de\u05e1\u05d2\u05e8\u05ea\u05d5 \u00a0\u05e9\u05ea\u05d9 \u05e2\u05e8\u05d9\u05de\u05d5\u05ea \u05d2\u05d3\u05d5\u05dc\u05d5\u05ea \u05e9\u05dc \u05d4\u05d9\u05e6\u05d9\u05e7\u05d4 \u05e9\u05dc \u05d4\u05e8\u05d5\u05d5\u05d7 \u05e9\u05d1\u05d9\u05df \u05d4\u05d0\u05e6\u05d1\u05e2\u05d5\u05ea \u05d4\u05de\u05e7\u05d5\u05e4\u05dc\u05d5\u05ea \u05db\u05d0\u05d2\u05e8\u05d5\u05e3. \u05d4\u05d9\u05e6\u05d9\u05e7\u05d5\u05ea \u05d1\u05d2\u05d5\u05d5\u05e0\u05d9\u05dd \u05e9\u05dc \u05d0\u05e4\u05d5\u05e8 \u05e9\u05d7\u05d5\u05e8, \u05e6\u05d1\u05e2 \u05d7\u05de\u05e8\u05d4 \u05d5\u05dc\u05d1\u05df \u05e2\u05db\u05d5\u05e8 \u05de\u05e2\u05dc\u05d5\u05ea \u05e2\u05dc \u05d4\u05d3\u05e2\u05ea \u05d0\u05ea \u05e2\u05d1\u05d5\u05d3\u05d5\u05ea \u05d4\u05e2\u05e8\u05d9\u05de\u05d5\u05ea \u05e9\u05dc F\u00e9lix Gonz\u00e1lez-Torres \u05d4\u05e7\u05d5\u05d1\u05e0\u05d9 \u05d0\u05de\u05e8\u05d9\u05e7\u05d0\u05d9. \u05d4\u05e8\u05d9\u05d1\u05d5\u05d9, \u05d4\u05d3\u05d7\u05d9\u05e7\u05d4 \u05e9\u05dc \u05d4\u05e2\u05e8\u05de\u05d5\u05ea \u05dc\u05e7\u05e8\u05df \u05d6\u05d5\u05d5\u05d9\u05ea, \u05d5\u05d0\u05d9 \u05d4\u05d1\u05d4\u05d9\u05e8\u05d5\u05ea \u05d4\u05e8\u05d0\u05e9\u05d5\u05e0\u05d9 \u05e2\u05dc \u05de\u05e7\u05d5\u05e8 \u05d4\u05e6\u05d5\u05e8\u05d4 – \u05de\u05e2\u05d9\u05e7\u05d4.<\/p>

\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0***
\u05d1\u05d4\u05db\u05dc\u05dc\u05d4 \u05d6\u05d5 \u05ea\u05e2\u05e8\u05d5\u05db\u05d4 \u05e9\u05de\u05d3\u05d1\u05e8\u05ea \u05d1\u05d8\u05d5\u05df \u05e9\u05e7\u05d8, \u05de\u05db\u05d5\u05e0\u05e1\u05ea \u05d5\u05de\u05d1\u05e7\u05e9\u05ea \u05dc\u05d9\u05e6\u05d5\u05e8 \u05e7\u05e9\u05e8 \u05e7\u05e8\u05d5\u05d1 \u05dc\u05e7\u05d4\u05dc. \u05d4\u05d9\u05d0 \u05de\u05e6\u05dc\u05d9\u05d7\u05d4 \u05d1\u05db\u05da \u05d1\u05de\u05d9\u05d3\u05d4 \u05e8\u05d1\u05d4.<\/p>

\u00a0<\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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Dafna Amira, 2024<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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\u05d2-\u05d4: 12:00-22:00<\/span><\/strong>
\u05d5: 10:00-14:00<\/span><\/strong>
\u05e9\u05d1\u05ea: 12:00-22:00<\/span><\/strong>
\u00a0\u05e8\u05d7\u05d5\u05d1 \u05d4\u05e8\u05e6\u05dc 119, \u05ea\u05dc \u05d0\u05d1\u05d9\u05d1<\/span><\/strong>
\u05e0\u05e2\u05d9\u05dc\u05d4: 11.7.24<\/span><\/strong><\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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<\/a>\u00a0Bezalel MFA graduate exhibition
<\/strong> The Bias of the Present <\/strong>2024<\/strong><\/h3>

The Israeli present is one of continuous pain, the result of over 140 years of nationalist struggle, out of which the State of Israel has existed for 76 years. The pain has become even more acute since October 7th<\/sup>. In the MFA graduates\u2019 exhibition, the pain exists but, to their credit, it does not undergo instrumentalization nor has it become shallow. Viewing the exhibition one senses the present filtering into the like an infusion of pain dripping into the \u00a0vains of Israel since the massacre.<\/p>

\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 ***\u00a0\u00a0<\/p>

Harel\u00a0Wahnich<\/strong>\u2019s installation \u201cAnd the height of the altar hearth shall be four cubits\u201d (3rd<\/sup> movement of 4) is a superb work. It is rare to see such a precise work in graduates\u2019 exhibitions. Wahnich observes the state of not-knowing and uncertainty from a mysterious description in the Prophet Ezekiel\u2019s vision, also the source of the artist\u2019s first name. Made of simple materials \u2013 sponge, sand, neon lights and electric cables \u2013 Wahnich constructed an environment from objects seemingly stripped of their external layers, peeled down to basics. The sensation is one of viewing distilled thought, scaffolding of a dream, an X-ray of objects showing their skeleton. The symbolism often feels church-like, with the lights seeming to stand in for grace, or the \u201cbrain\u201d on a large drawing seeming like the relics of martyrs. Two azure-colored microphones amplify the sound of an airplane; their vibration is revealed only on an extended look. The video seems to show a hand pulling on a string turning off the work itself. In the cold, clinical light, things are not decoded completely, do not entirely connect, yet nevertheless transform the space into a narrative that also corresponds very well with the crumbling houses seen through the window. A performance is also planned in which the cello will be played, but even without the music, this is a piece that demands attentive listening to the slight sound of a search.<\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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Harel Wahnich, \u201cAnd the height of the altar hearth shall be four cubits\u201d (3rd movement of 4) <\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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Idan Sestieri Lavie<\/strong> is showing an excellent installation in the basement \u2013in the office used by the owner of the building now housing the MFA. The large, high ceilinged, dim space is used to store furniture, cloth, and sewing machines remaining from the time that the building was the Diva swimsuit factory. Sestieri Lavie created a well-orchestrated artwork of a sand table with small but stormy eruptions; a window opening and closing seeming to do so on its own; and a light piece installed between storage shelves made of an illuminating plant (a bit similar to fireflies) imprisoned in a vat of mineral water. The constant change refers to the big changes in the building that began as a tahini factory, became a textile plant, and is now an art academy, but mainly to climate change, especially sand and desertification. The golden beach sands and models in the folding photographs hanging here and there have long since been contaminated. The tall, dense library contains secret after secret, with a \u201ctree\u201d made of projectors of the type that was used for presentations before the era of PowerPoint. This is about technological change that erases points of memory.<\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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Maor Michaelov Maoritsyoo, He Said he would\nSell to Me Life in a\nSmall Bag, 2024<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Maor Michaelov Maoritsyoo\u2019<\/strong>s installation, He Said he would Sell to Me Life in a Small Bag <\/em>(2024) is a second-hand book and clothing shop and performance site, and in quite many senses also a therapeutic space. Maoritsyoo invites visitors to tell a personal story and hear his, with the stories to be translated into embroideries on the clothing he found, which he gifts to the visitor. The artist relates stories of his family who immigrated to Israel from the Caucasus in the 1970s and underwent the disastrous experience of immigrants with education who encountered prejudice and a cultural wasteland; he also tells about his engagement with embroidery and tapestry-making together with his mother.<\/p>

\u00a0<\/p>

Nomadism as a physical and emotional state, are expressed in embroideries, Fimo jewelry, and notebooks of drawings which he shows visitors and interprets to them. The installation is associated with the flourishing on the international art scene of extended performance pieces (Marina Abramovic immediately comes to mind) and of embroidery and textile in general as an artistic medium firmly based on the mainstream, from American artists Elaine Raichek and Jordan Nassar through the many textile artworks in the present Venice Biennale (Shalom Kufakwatenzi, Zimbabwe; Gunes Terkol, Turkey). In both the painterly collage by Neta Bachrach<\/strong> \u201cWhistling in the Dark\u201d and Dana Cohen\u2019s <\/strong>huge work the soft materials and embroidery are used beautifully. Dana Cohen <\/strong>created an attractive-repulsive cascade flowing down from the second floor to the entrance of the building made of agricultural mesh and various types of recycled textiles<\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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Dana Cohen, Movement Memory, 2024<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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Performance is central in additional intriguing artworks, whose spaces are not whole as installations. Oran Maestro Segal<\/strong>\u2019s intention to act, in which each day she will bake a loaf of bread in the space based on her parents\u2019 kitchen in the kibbutz, and the performance \u2013 a musical performance by Lior Gekler<\/strong> in which a piano, instruments, and additional recording devices were installed in the lobby of the upper story of the building and will perform there. (I did not see these two performances\/actions).<\/p>

Other outstanding works are by Dafna Amira,<\/strong> who is showing photographs of office furniture and alienated domestic spaces, installed in the shelters in the shelter; a sound and light installation by Yan Boltov<\/strong>, who created a cycle of sunrise and sunset in three milk-glass windows. For a moment they become transparent, revealing to visitors the action \u201cbehind the scenes\u201d that simulates nature. In Danielle Liberman<\/strong>\u2019s installation, she and her mother observe the family memory through her grandmother\u2019s home.<\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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Danielle Liberman, Mom and I , 2024<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Majdi Ashhab<\/strong>\u2019s installation \u201cBetween Human, Tree, and Stone,\u201d refers directly to the war. Two large piles of casts of the space between fingers folded into a fist in shades of grey, black, clay color and darkish white bring to mind the heaps installed by Cuban-American artist F\u00e9lix Gonz\u00e1lez-Torres. The multiplicity, the piles being pushed into the corner, and the initial lack of clarity as to the source of the shape are oppressive.<\/p>

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 ***
Generally speaking this exhibition\u00a0 speaks in a quiet, introverted tone, striving to form a close relationship with the audience \u2013 and, to a great extent, succeeds in doing so.<\/p>

\u00a0<\/p>

Curator Prof’ Dor Guz\u00a0<\/p>

Open: Tues.-Thurs., 12 noon-10 p.m.<\/strong><\/p>

Fri. 10 a.m.-2 pm.<\/strong><\/p>

Sat. 12 noon-10 p.m.<\/strong><\/p>

119 Herzl, Tel Aviv<\/strong><\/p>

Closing: July 11, 2024<\/strong><\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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Neta Bachrach, 2024 <\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"

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