Czére Andrea szerk.: A Szépművészeti Múzeum közleményei 102-103. (Budapest, 2005)

ANNUAL REPORT 2005 - A 2005. ÉV - KATA BODOR: Exhibition of Magdalena Abakanowicz

74 MAGDALENA ABAKANOWICZ. BACKS, 1976-79. WROCLAW. NATIONAL MUSEUM the plane of the relief, taking space into account, they recall the illusion of an untouched, primaeval nature, not only in their texture, but also in their dimensions and forms, bringing to life a monumental, amorphous, "countless", never-ending and never-to-be-closed natural context. The Abakans, eponymous pieces made in the 1960s, were still close to the traditional techniques of textile art, in their being woven, sewn and in the elaborations of the surfaces, but all that had changed by the 70s. The knots were getting slowly undone, the rhapsodic puckers overcame their own constructions and the natural elements, and the space-shaping monumental figures were replaced by human figures. The knotty and rough surfaces were given a form, and just as when one staring the clouds, starts to see recognisable shapes, in the same way we start to see the human figure emerging from the amorphous heaps of textile. The stuffed burlap "figures" of the Embryology cycle (1978-80) in no way recalled the overflowing, gigantic forms of