Naama Arad’s ‘Har Hazofim’ quotes the view from the window of the fictional Frank Lloyd Wright creation from Alfred Hitchcock’s classic ‘North by Northwest.’ A peach-toned silken curtain intervenes between our gaze and the Xerox copies pasted to the opposite wall on which landscapes can be seen. The paternalistic presidential visages of Mount Rushmore and the modernist architecture both see their material and ideological texture inverted in the most tender of feminist veilings. The title of the work refers to the mountain of the same name, and Israeli enclave in East Jerusalem that houses the Bezalel Academy of Art founded in 1906.
On bistro tables Lea St. presents us the wishes of her ‘Domestic Wish Machine’ embossed in salt-dough, baked, and sometimes charred. The cheapness of the materials and the household scale of the plastics evoke speculation about the social locus of the source of wishes as well as mourning for a generalized fatherly inclination. ‘Domestic Wish Machine’ can be read as an artistic appropriation of the structure of domestic activity and stereotypes: these crumble, just like the salt-dough, towards their decomposition.