Zwölfzeiger / Twelve Marker

Norbert Radermacher’s public works are restrained, yet enigmatic and fascinating; only those who want to find them or who are generally very attentive to their surroundings will discover them. In contrast to those works that seek to define and dominate a space, Radermacher’s sculptures could just as easily remain undiscovered. When they are observed, however, they create a moment of uncertainty, amazement, and recognition.

The Bergstraße railway bridge in Bochum has tower-like rubble stone supports. On opposite sides of one of these towers, the artist installed a round light box that is reminiscent of a station clock. Rather than including all of the numbers, however, there is only a single marker in the 12 O’clock position.

Furthermore, there is only one “hand” on either “clock.” In this way, the installation can be compared to a modern minimalist clock design that never provides you with the exact time, i.e., form has clearly triumphed over function.

Radermacher’s installation, however, is disorienting not only because it is in an unusual location for a station clock. The hand, which usually points to twelve, also sets itself in motion at irregular intervals, traces a complete circle, and then remains on twelve again for an uncertain period.

This disorienting work can be seen as a supplement to the artist’s world maps, which have been under the bridge since 1991. They depict two different views of the world and are dimly lit at night by a street lamp.

The Twelve Marker was created as part of the KunstLichtTore project. In Bochum, there are 16 railway underpasses that enclose the city center like historical gates of the industrial age. Through this initiative, they were adorned and enhanced with works of light art.