In her current retrospective at the Jerusalem Theatre, the historical works appear in reproduction, embellished with painted decorative margins and additional new images.
In a guised reference to cultural critic Walter Benjamin’s seminal essay “The Work of Art in the Age of Mechanical Reproduction” (1935), Wexler’s new additions essentially convert the reproduction into a new artwork. This use of appropriation is, for Wexler, another form of readymade.
The coloration of the background accentuates the past work without overwhelming it. As in the marginal decorations of medieval manuscripts, the surrounding illustrations are open to free improvisation, telling a new story alongside the works from the past. The leitmotif of the series, the bird, embodies freedom for the artist, as well as existential angst.
Wexler (née Racine) (b. 1952) immigrated to Israel with her parents and sister from France. Her parents were involved in Zionist activities throughout their lives. Her father was invited to Israel by the government to set up the national oil company Delek. Daniella’s husband, Uzi Wexler (1938-2017), was a builder of Jerusalem and founded the Azrieli College of Engineering Jerusalem.
Daniella Wexler worked in the State Advocacy and as a judge in Jerusalem. Initially exhibiting her early work in galleries, such as the Engel Gallery, Jerusalem, she only returned to exhibit later, following the end of her term in the judicial system. Since then, her works have been shown in many exhibitions in Israel and abroad.
Wexler is a published author whose books include Why Throw It Out? (2015) and My Life under a Tree (2021).■
Batsheva Goldman-Ida is the curator at the Jerusalem Theatre. Daniella Wexler’s exhibition can be viewed at the Jerusalem Theatre from June 3-30.
