12

The theme of the installation “12” symbolically expresses the close bond between Jewish and Christian culture. According to the Old Testament, the Jewish patriarch Jacob Israel divided the land among his twelve sons, who are regarded as the forefathers of the twelve tribes of the people of Israel. On his deathbed Jacob is said to have blessed each of his sons, given each a symbol in the form of a gemstone, an emblem and the colour of a banner, and foretold the character and fate of each tribe. Their number points to a direct link with the New Testament: Jesus Christ appointed twelve apostles to preach the gospel, which is why the college of the apostles is often called the founder of the new Israel. The number twelve carries many meanings in the sciences, in mathematics, astronomy, physics and chemistry or anatomy, and it holds an essential place in every culture, religion and sacred cult. Although the installation refers above all to the overlaps between the Jewish and Christian communities, it will surely invite other associations as well.

The installation is made up of twelve non-figurative sculptures. For the most part their form is left in the natural, seemingly unworked, raw state of the material. Cross-sections that differ from piece to piece reveal the inner self (the soul) of each object – smoothed, coloured surfaces whose outlines partly suggest the shapes of a body. They call to mind the tormented history of the people of Israel and of early Christianity. The confrontation of natural and synthetic materials is heightened by the contrasting colours. The character of the installation changes with the interplay of the objects and with the light. The play of colour and form takes place on a surface that evokes a chessboard. The variability of the individual sculptures, in their dialogue with the viewers, shapes not only the visual effect of the whole but also the reading of the story. It applies the principles of a game of chess to social relations.