From the beginning of her professional activity until now, Jakobovits has participated in numerous symposiums, artist residencies and seminars in different countries. Almost yearly, since 1999, Jakobovits has spent a month in residence at the Kecskemét International Ceramic Studio, in Hungary. In 2018 she also undertook a renowned residency in Iran, having been invited by Mahmud Maktabi, director of Rah Art Residencies, to hold workshops, artist talks in Tehran, Isfahan. This allowed Jakobovits to have direct contact with ancient and contemporary Persian arts.
Parallel to her new works, Jakobovits further developed her research into the inner secrets of the cuneiform ceramic tablets which she studied at the Vatican Museum. These once belonged to the famous Ashurbanipal library, named after the last great king of the Assyrian Empire. Of note, cuneiform, a type of writing used in Mesopotamia (ancient Iraq) is understood by many to be the oldest writing system created by mankind, even predating Egyptian hieroglyphics.
Jakobovits’ choice of glaze test plates arrangement, My Library pays homage to Ashurbanipal’s library. This series of works explores the spectacular changes that occur in her personal glazes as a result of the various firing processes and combination of materials the artist uses.
Jakobovits’ glaze-test library was exhibited at the National Museum of Contemporary Art in Bucharest, as part of Marta Jakobovits: Part of the Road Traveled (December 9, 2021 – April 24, 2022). This retrospective, curated by art critic Mălina Ionescu, presented the main stages of her career and practice, from early works such as her terracotta series of the 1960s and 1970s, to pieces and installations created in 2022.
The Artist’s Studio exhibition (April 30 – September 12, 2022), curated by Sorina Jecza, at the Cultural Center of the Baroque Palace of the Roman Catholic Bishop in Oradea, Romania, featured a larger installation by Marta Jakobovits. This installation consists of glazed tiles created in 2022 that demonstrate fifteen personal glaze processes. The piece also features several objects covered with blue and turquoise glazes obtained through this glaze process.
In 2021, Jakobovits completed an installation titled Collecting the Raindrops which features shapes created to collect raindrops. The entire rearrangeable installation is an empathetic response to climate change through its visual impact on the viewer’s emotions.
A poetic approach is also manifested in the ceramic ensemble My Stones (2022). Covered with special purple and blue glazes, this piece manifests the strong life force of the forms created in relation to natural forms or even the natural environment.
Jakobovits’ work was exhibited at the Transylvanian Art Center in Sepsiszentgyörgy/St. George (May 21 –June 18, 2021) in a solo show curated by renowned sculptor Peter Madaras. The artworks selected for this exhibition highlighted important periods of the artist’s practice through installations. Madaras chose to focus on Jakobovits’ special relationship with nature. The exhibition was opened by art critic Dr Irene Kanyadi, who wrote the foreword in the accompanying exhibition catalogue.
In 2021, the Museum of Fine Arts, Budapest, acquired and exhibited Jakobovits’ installation Memory of the Place (2014).
Jakobovits has been selected to participate in Common Space, the National Salon of Applied Arts and Design 2022 (April 9 – September 4, 2022) in the Kunsthalle, Budapest. She also was invited to participate at the 2022 edition of Art-Effect National Biennale of Decorative Arts, Criș-County Museum,Oradea.
The Criș County Museum in Oradea is participating in a large European cross-border project that will be completed in the autumn of 2022. For this, the museum has requested that Jakobovits places her compositions in a three-story glass case for their permanent exhibition.
On the occasion of the Cluj International Ceramics Biennale 2019 at the Art Museum Cluj, Romania, Marta Jakobovits was commissioned by the organizers to create a personal exhibition in the context of the biennale.
