Page 28 - Studio International - July 1966

gether which is the wholeness of the "form" and there is on these partial revelations to give us a glimpse of the
no end to form except in the complete form. It follows universe in its entirety. He calls this again 'one, yet not
that form constitutes a perfection of forms so that man unique'. Thus the nature of the work and the intentions
finally is unable to comprehend the essence of divinity of the artist (and after meditation, the reactions of the
(that is, reality and the universe) as with the Kabbalist.' observer) become reconciled in the apprehension of time
Two aspects of Agam's But Agam's interpretation of Hebrew 'realism' is ex- and reality—as incarnated in the beginning of Genesis:
maquette for the boat pressed in a universally accessible medium. the Tree of Knowledge as symbol for time and mortality.
'Shalom', 1962-63
Caseine tempera on wood Although these works (which cannot be perceived other Movement in Agam's work—movement of the spectator
15* x 9Z in, than in stages), try to transcend the visible, Agam counts or virtual movement contained in the work—will have to
be interpreted within these concepts. The absence of the
definite form is thus a constituent factor in the emergence,
disappearance, and re-emergence of plastic propositions
which only exist in their metamorphosis. The physical
movement is here only a counterpart of the potential
movement, which is of a spiritual nature. The absence of
a movement is thus an indication of movement as a poten-
tial, yet tangible, reality.
One would think that such a position would oppose
Agam to the principal preoccupations of our times. In
fact, the dialectical rule of absence and presence places
Agam at the centre of present-day research. This is due
to two factors : the breadth of his own researches touch-
ing other domains such as poetry, architecture and the
theatre; and the peculiar fact that a bridge exists be-
tween the material and spiritual endeavour of all periods.
Agam's attempt to catch reality by the superimposition
of words in the linear handwriting (his simultaneous
mots-accords) has considerable affinities with the desire of
poets (concrete, spatialist, phonetic, kinetic, etc.) to
evoke by the multiplicity of related meanings both the
presence and absence of an object, a person, a concept.
The basic structure thus provided shifts the responsibility
to the spectator who pursues his visual and mental itin-
erary. A succession of concepts and 'images' emerges
whose 'virtuality' and becoming banish the impression of
fixity.
Agam's works on architectural dimensions, such as the
Double Metamorphosis executed for the Israeli liner Shalom
and Jacob's Ladder on the ceiling of the National Con-
vention Centre in Jerusalem introduces a distinct social
element into Agam's plastic pursuits. The metamorphosis
and the disappearing and re-emerging images are here
closely linked to the daily life of a social entity. Similar
remarks are true for his theatre projects with multiple
scenes and 'in counterpoint', as well as for the music he
wants to compose with infinite variations and transforma-
tions through the 'inner mobility' of the musical ele-
ments. Agam goes here beyond the actual researches in
concrete and electronic music.
Perceptible absence is the unifying factor in all these
fields, and Agam's researches link him more than ever to
creative activity in these many domains as well as to the
spectator- performer. The pursuit of the paradox of
absence-presence (existence), puts Agam and his works
also into the midst of the present-day general search for
a new sense of reality (and of the universe). The aesthetic

Left, two aspects of Opposite, three aspects of
Jacob's ladder in the Co-ordination 1965-66
National Convention Centre, Metapolymorphic painting
Jerusalem 1964 Oil on corrugated aluminium
Polyvinyl acetate on concrete 59x 157 1/2 in.
Length 197 ft Width 10 ft