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Hili Greenfeld: MaGifa
21 January – 4 April
MaGifa is an online exhibition of new works by Israeli artist Hili Greenfeld. Hili was scheduled to be ONCA’s artist in residence in July last year, with a subsequent solo exhibition following in August, but the ongoing coronavirus outbreak meant this couldn’t take place.
**We recommend viewing on a computer/laptop rather than a phone for the best experience**
MaGifa (meaning pandemic in Hebrew) reveals new works created by the artist during the first lockdown in Tel Aviv, Israel. This body of work consists of delicate pencil and pen drawings – depicting imagined abandoned spaces containing structures, plants and animals. The drawings have been animated to include subtle movements and shapes, referencing the games played and music listened to by the artist and her son as they passed time indoors.
Hili says: “As happened to many people, all of my projects were cancelled or postponed to an unknown date when the corona crisis began in early 2020. My everyday life was reduced to the most basic things: cooking, a walk in our neighbourhood garden, and playing with Aviv, my 18 month-old son. It felt like the stasis of an ‘ongoing-present’. On the one hand the news gave a sense of the apocalypse, but on the other hand every day seemed the same as the previous one.”
Meet the Artist: Thursday 18th February – 6:30pm (UK time) Artist Hili Greenfeld offers insights into her practice, a project with ONCA that never happened due to Covid-19 and what she made instead. Book tickets here.
Artists in Conversation: Adapting Practices during Covid, Saturday 6th March – 2:00pm (UK time) Hili Greenfeld, Andrea Knezovic, Shirel Kadambari Horovitz and ONCA’s Lydia Heath discuss how they have adapted their practices to some of the challenges the ongoing pandemic presents. More info and tickets here.
About the artist
Hili Greenfeld’s art connects fragments of private memory to cultural narratives in shrine-like installations. These installations consist of imitations of relics – objects that testify both to our desire to capture time through the objects that persist through it, and our inability to finally make peace with the change and decay that time brings. She calls these installations ‘environments’ because they combine manipulated ready-mades, sculptures and paintings, creating a complex, integrated space. Though memories are elusive and private rather than concrete and public, these scenes reify personal memories and thus enable them to be shared.
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