Ninety-five chairs, which were designed by Thomas Chr. Heyde, form the centre of the art installation and reflect the composition in many ways. On the one hand, they refer to the mathematical proportions in form, on the other hand, they symbolize the 95 theses as each thesis finds its place on the back of one of the chairs. Therefore, they are distinctive individual items and also limited to 95 pieces.
The materials are not simply used as eye-catchers but are arranged in correspondence to the artwork itself. Besides wood and tar rusty metal, feathers and plexiglas are being integrated, whereby their pure materiality links the history of reformation with our modern world.
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