Bar
Refaeli is not a successful model; Bar Refaeli is a nagging thought.
Like other nagging thoughts that impose themselves on people, Bar
Refaeli imposes herself on us. There’s no way to be rid of her. She
invades our consciousness again and again, in an endlessly repetitive
cycle that can still sometimes seem to pop up without warning. What is
supposed to be seen as “pretty” and “sexy” and “attractive” is really a
form of obsession.
Now she’s shown up again on huge billboards. Wearing a niqab this time. The caption: “Iran
is here.” After a few days, “the mystery was solved”: Beneath the niqab
is the nagging thought. And the nagging thought wants us to shed our
“Iranian-ness” – i.e., conservatism, enslavement, religious zealotry. In
the video ad she removes the niqab and starts to move about easily in
more comfortable clothes as a song with the lyrics “It’s all about the
freedom” plays in the background. At the end of the commercial (for a
particular brand of clothing), we see this slogan: Freedom is Basic.
Here we have the
unconscious infiltrating the consciousness as satire (or is it parody?):
Bar Refaeli, who keeps taking over the public space with giant
billboards, preaching to Israelis about freedom; the presenter who
causes this feeling of claustrophobia wants to convey the message that
“Freedom is basic,” that “It’s all about freedom.”
Bar Refaeli modeling Hoodies Eyal Nevo
Of course, Refaeli
herself is not the subject. She’s just advertising clothes or glasses or
what-have-you, she’s just a model, a businesswoman making money. But
Refaeli as an image that gives no respite, that forces itself onto the
collective consciousness at the same time as it preaches “freedom,”
represents some kind of disorder.
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A
hint of this disorder can be found in the dissonance that Refaeli has
been imposing on Israelis for years. Every few months, she’s saying to
the public: “Look how beautiful I am”; in other words, she obsessively
intertwines beauty with endless repetition, turning beauty into a kind
of prison into which we are all thrown over and over again. Basically,
Refaeli takes the natural essence and associations of beauty
(ephemeralness, youth, freedom, rebellion) and turns it into a
synthetic, superficial and hollow concept.
In
the more fundamental sense, this seems to be the purpose of the Refaeli
repetitiveness: To drain of all content the concepts that could tear
away the plastic scenery that surrounds the Israeli, to make them meager
and fake and meaningless.
Her “treatment” of
the concept of freedom meets all of those criteria: The jailer tempts
the prisoner to get out of his handcuffs and go free – because “it’s all
about freedom” – while simultaneously closing him in and ensuring he
has no way to escape. She suggests that the prisoner move around
“freely” but only within the narrow walls of the prison.
Refaeli modeling glasses. Eyal Nevo
Bar Refaeli is a
nagging thought that has survived for so many years because she has an
important role: reminding the public of the illusion that envelops it –
the illusion of freedom, the illusion of beauty, the illusion of youth.
Thus “Iran is here” is a slip of the tongue: For if “Iran” is a metaphor
for the illusion of freedom, then yes – Iran is here. The billboard
could just as easily have said: “Freedom in Israel is as fake as Bar
Refaeli.”
Beauty
minus beauty, freedom minus freedom, youth minus youth – In Israel,
concepts are continually being denuded as a defensive action. Without
realizing it, the Israeli is required to live a constrained life while
regarding it as a normal and full life (“the happiness index”). But
underneath this life in Israel the fear of death is always rumbling. And
Bar Refaeli appears again and again as part of the unconscious fight to
keep this fear repressed. An attempt to replace the anxiety with
“beauty” and “seduction” and “sex” (or libido, that is, though since Bar
Refaeli is not really libidinal – even this concept is emptied of
content – the replacement never really manages to shake off the anxiety.
That is to say that
Bar Refaeli survives for so many years because Israelis still refuse to
dive all the way into the repression. They insist on keeping a little
bit of anxiety to remind themselves that life here is really
constrained).
Bar Refaeli reaches
her peak as a presenter of repressed anxiety at the airport. There she
is the absolute star. Like in a nightmare, wherever the prisoner turns,
he finds the jailer’s pretty face staring at him. “Dear Israeli,” she
reminds him over and over, “enjoy the Duty Free, buy your family lots of
sweets and alcohol, but don’t forget the most important thing: Although
the plane will take off soon, you cannot go free. In the end you’ll
always come back here, to me, to the nagging thought, to the beautiful
prison, to Bar Refaeli.”
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