Eli Petel’s installation features two disproportionately large sideburns, suspended in the exhibition space like two monstrous curls – two side locks belonging to a giant race of ultra-orthodox Jewish men. Such a popinspired gesture can only serve to underscore the social tensions inherent to Jerusalem. An additional environment contains paper constructions, which Petel has digitally imprinted with various motifs – such as a scorched sheet of paper or talismans. This imagery is compatible with the painterly or visual vocabulary used by Petel – one of the only Israeli artists of his generation whose work addresses his Sephardic background and the signs associated with the Jewish religion.