Thursday, March 8, 2018

Vleeshal, Meat Market BaYiT BaSaR בית בשר 1991

Vleeshal, Meat Market BaYiT BaSaR בית בשר 1991
In the sculpture "Vleeshal (meat market) BaYiT BaSaR בית בשר 1991", I have reduced an existing hall - de Vleeshal (meat market) in Middelburg, the Netherlands - into a model which then functions as a support for an inscription. What is particular about this inscription is the fact that it is made up by the joints between the geometrical blocks of which the sculpture is constructed (please note: the geometrical blocks are based on 6 Hebrew letters, בית בשר to be read as BaSaR BaYiT i.e., Vleeshal/meat market). The place is transformed into its name, a name which lives in the lacuna of the town. 

1991 Vleeshal (Correction III) BaYiT BaSaR בית בשר x900 x 380 x 19 cm, metal, bronze, 
(Collection Becht, Naarden)





KaPOReT כַּפֹּרֶת 1979

KaPOReT כַּפֹּרֶת 1979 

iron (Car Ramp), copper 50 x 130 x 40 cm  


One can learn much from this, for this is not a
contradiction; on the contrary, the Golden COVER is the source,
the designed image of כַּפֹּרֶת (KaPoReT);

(KaPoReT), Seat of Mercy, covering (lid) of the Holy Ark)
curtain. In the following examples we show the use of the verb כפר K.P.R.
in Torah, the Old Testament. KoFeR: A protective coating –
Genesis, Breshit 6:14. AChaPeRaH: A protection gift – Genesis,
Breshit 32:21. KeFoR: A covering of the ground – Exodus, Shemot
16:14. KoFeR: Protection money, the word used to describe a payment
which can be made in lieu of punishment, protection from punishment
- Numeri, Bamidbar 35:31. KaPoReT: A golden lid with two KeRUVIM,
Cherubs upon it, served as the cover for the Holy Ark – Exodus,
Shemot 25:17-22. The Hebrew word KiPUR is a derivative of the
biblical word כַּפֹּרֶת KaPoReT. The term Yom Kippur is commonly known as
the day of Atonement. Please Note: The word Atonement appears only
once in the King James Bible, the New Testament, Romans 5:11, and
more than 80 times in KJB, the Old Testament.


KaPOReT כַּפֹּרֶת 1979 iron (Car Ramp), copper 50 x 130 x 40 cm 









Monday, January 22, 2018

The SCAPEGOAT; שָׂעִיר לַעֲזָאזֵל 1986

The SCAPEGOAT; שָׂעִיר לַעֲזָאזֵל 1986 
"And Aaron shall cast lots upon the two goats: 
one lot for the LORD, and the other (i.e., The Scapegoat) 
lot for AZAZeL." Leviticus 16:8
Please note: the two goats are always already identical.


The Scapegoat 1986
bronze, woven cotton band (104 meters)
140 x 40 x 400 cm







The SCAPEGOAT; שָׂעִיר לַעֲזָאזֵל
In this context then, to explain the idea of the SCAPEGOAT, and in particular to justify the [epistemic] process of selection; namely, the mental power, the skill to identify the Scapegoat out of two identical goats; can only take place in language, which has a writing system. As such, the act of Reading about the very status of two identical objects, and the ability to choose and to promote one object, is always connected to Writing; 
After all, the Scapegoat as an image is our attempt to select something, which has already been selected by itself. Therefore, to gaze at the image of a certain selected object - i.e., the SCAPEGOAT - is not an act of solidarity, nor a censorship, but a certain momentary translation. The exchanging of an Image (Reading) with a Sign (Writing). True, the Scapegoat is understood not simply as an object in space and time, but as a Reading while Writing, an action that we need to take into consideration, even inside an unfamiliar room. In other words, the Scapegoat, the selected object, is the reason why each and every artwork on display, cannot be simply a category of ocular desire -  
After all, there is nothing asymmetrical about it, to the extent that the veiled mechanism of selection is already linked to our Reading while Writing; thereafter, the traces of the past could be found and identified because of the magnificent moment of the second birth of the Guest's mother tongue. 
(.... ref., Hegel's Aesthetics / Arthur Danto, The Transfiguration of the Commonplace)