[{"data":1,"prerenderedAt":447},["ShallowReactive",2],{"defaults-en":3,"page/en/stories/ariane-epars/-en":97},{"availableLanguages":4,"appTitle":7,"navigation":8,"address":95,"contact":96},[5,6],"de","en","Artist in Residence Chretzeturm",[9,22,37,51,65,80],{"name":10,"meta":11,"path":17},1,{"id":10,"template":12,"title":13,"url":16},"home",[14,15],{"lang":5,"title":7},{"lang":6,"title":7},"/en/",[18,20],{"lang":5,"url":19},"",{"lang":6,"url":21},"en/",{"name":23,"meta":24,"path":32},1039,{"id":23,"template":25,"title":26,"url":31},"about",[27,29],{"lang":5,"title":28},"Über",{"lang":6,"title":30},"About","/en/about/",[33,35],{"lang":5,"url":34},"ueber/",{"lang":6,"url":36},"en/about/",{"name":38,"meta":39,"path":46},1040,{"id":38,"template":40,"title":41,"url":45},"residents",[42,44],{"lang":5,"title":43},"Residents",{"lang":6,"title":43},"/en/residents/",[47,49],{"lang":5,"url":48},"residents/",{"lang":6,"url":50},"en/residents/",{"name":52,"meta":53,"path":60},1041,{"id":52,"template":54,"title":55,"url":59},"events",[56,58],{"lang":5,"title":57},"Events",{"lang":6,"title":57},"/en/events/",[61,63],{"lang":5,"url":62},"events/",{"lang":6,"url":64},"en/events/",{"name":66,"meta":67,"path":75},1042,{"id":66,"template":68,"title":69,"url":74},"stories",[70,72],{"lang":5,"title":71},"Geschichten",{"lang":6,"title":73},"Stories","/en/stories/",[76,78],{"lang":5,"url":77},"geschichten/",{"lang":6,"url":79},"en/stories/",{"name":81,"meta":82,"path":90},1044,{"id":81,"template":83,"title":84,"url":89},"basic-page",[85,87],{"lang":5,"title":86},"Kontakt",{"lang":6,"title":88},"Contact","/en/contact/",[91,93],{"lang":5,"url":92},"kontakt/",{"lang":6,"url":94},"en/contact/","\u003Cp>Artist in Residence Chretzeturm\u003Cbr>Bim Chretzeturm 1, CH-8260 Stein am Rhein\u003Cbr>+41 (0)52 740 30 18\u003C/p>","\u003Cul>\n\u003Cli>\u003Ca href=\"mailto:julia.wolf@windler-stiftung.ch\">Mail\u003C/a>\u003C/li>\n\u003Cli>\u003Ca href=\"https://www.facebook.com/WindlerStiftungKultur\">Facebook\u003C/a>\u003C/li>\n\u003Cli>\u003Ca href=\"https://www.instagram.com/windlerstiftung/?hl=de\">Instagram\u003C/a>\u003C/li>\n\u003C/ul>",{"meta":98,"fields":106},{"id":99,"url":100,"template":101,"alternate":102},2995,"/en/stories/ariane-epars/","story",[103,105],{"url":104,"lang":5},"/geschichten/ariane-epars/",{"url":100,"lang":6},{"title":107,"subtitle":108,"publication_date":109,"residents":114,"date_freetext":125,"location":126,"cover_media":127,"lead":165,"slider":166,"content":167,"meta_description":19},"Ariane Epars","\u003Cp>Interpreting Space, Guiding Perceptions, Giving Rise to the Ephemeral\u003C/p>",{"formatted":110,"iso":113},{"date":111,"time":112},"28.2.2024","00:00","2024-02-28T00:00:00+01:00",[115],{"meta":116,"fields":124},{"id":117,"url":118,"template":119,"alternate":120},2418,"/en/residents/ariane-epars/","resident",[121,123],{"url":122,"lang":5},"/residents/ariane-epars/",{"url":118,"lang":6},{"title":107},"2024","Story",[128],{"type":129,"image":130,"caption":19,"grid_space":148,"depth":150,"teaser_image":151},"type_image",{"urls":131,"description":19,"ratio":146,"resized":147},[132,135,138,141,144],{"url":133,"width":134},"https://backend.air-chretzeturm.ch/site/assets/files/2997/chretzeturm-ariane-epars-jvvs.400x0.webp",400,{"url":136,"width":137},"https://backend.air-chretzeturm.ch/site/assets/files/2997/chretzeturm-ariane-epars-jvvs.800x0.webp",800,{"url":139,"width":140},"https://backend.air-chretzeturm.ch/site/assets/files/2997/chretzeturm-ariane-epars-jvvs.1200x0.webp",1200,{"url":142,"width":143},"https://backend.air-chretzeturm.ch/site/assets/files/2997/chretzeturm-ariane-epars-jvvs.1600x0.webp",1281,{"url":145,"width":143},"https://backend.air-chretzeturm.ch/site/assets/files/2997/chretzeturm-ariane-epars-jvvs.2000x0.webp",0.67,true,{"start":10,"end":149},2,0,{"urls":152,"description":19,"ratio":164,"resized":147},[153,155,157,159,162],{"url":154,"width":134},"https://backend.air-chretzeturm.ch/site/assets/files/2997/chretzeturm-ariane-epars-jvvs_1600x0_kopie.400x0.webp",{"url":156,"width":137},"https://backend.air-chretzeturm.ch/site/assets/files/2997/chretzeturm-ariane-epars-jvvs_1600x0_kopie.800x0.webp",{"url":158,"width":140},"https://backend.air-chretzeturm.ch/site/assets/files/2997/chretzeturm-ariane-epars-jvvs_1600x0_kopie.1200x0.webp",{"url":160,"width":161},"https://backend.air-chretzeturm.ch/site/assets/files/2997/chretzeturm-ariane-epars-jvvs_1600x0_kopie.1600x0.webp",1282,{"url":163,"width":161},"https://backend.air-chretzeturm.ch/site/assets/files/2997/chretzeturm-ariane-epars-jvvs_1600x0_kopie.2000x0.webp",0.8,"\u003Cp>During her residency at the Chretzeturm, the artist Ariane Epars intensively engaged with nearby St. George’s Abbey. She was particularly captivated by the minimalistic wall drawings in one of the monastic cells.\u003C/p>",[],[168,188,204,207,223,225,239,253,255,270,287,289,291,307,322,337,351,366,380,382,397,399,401,415,417],{"type":129,"image":169,"caption":184,"grid_space":185,"depth":150,"teaser_image":187},{"urls":170,"description":19,"ratio":183,"resized":147},[171,173,175,177,180],{"url":172,"width":134},"https://backend.air-chretzeturm.ch/site/assets/files/3000/chretzeturm-ariane-epars-uqqn.400x0.webp",{"url":174,"width":137},"https://backend.air-chretzeturm.ch/site/assets/files/3000/chretzeturm-ariane-epars-uqqn.800x0.webp",{"url":176,"width":140},"https://backend.air-chretzeturm.ch/site/assets/files/3000/chretzeturm-ariane-epars-uqqn.1200x0.webp",{"url":178,"width":179},"https://backend.air-chretzeturm.ch/site/assets/files/3000/chretzeturm-ariane-epars-uqqn.1600x0.webp",1600,{"url":181,"width":182},"https://backend.air-chretzeturm.ch/site/assets/files/3000/chretzeturm-ariane-epars-uqqn.2000x0.webp",1920,1.5,"\u003Cp>Ariane Epars in her studio during her residency at the Chretzeturm, 2024\u003C/p>",{"start":10,"end":186},9,null,{"type":129,"image":189,"caption":19,"grid_space":202,"depth":150,"teaser_image":187},{"urls":190,"description":19,"ratio":201,"resized":147},[191,193,195,197,199],{"url":192,"width":134},"https://backend.air-chretzeturm.ch/site/assets/files/3003/chretzeturm-ariane-epars-1-4ujb.400x0.webp",{"url":194,"width":137},"https://backend.air-chretzeturm.ch/site/assets/files/3003/chretzeturm-ariane-epars-1-4ujb.800x0.webp",{"url":196,"width":140},"https://backend.air-chretzeturm.ch/site/assets/files/3003/chretzeturm-ariane-epars-1-4ujb.1200x0.webp",{"url":198,"width":143},"https://backend.air-chretzeturm.ch/site/assets/files/3003/chretzeturm-ariane-epars-1-4ujb.1600x0.webp",{"url":200,"width":143},"https://backend.air-chretzeturm.ch/site/assets/files/3003/chretzeturm-ariane-epars-1-4ujb.2000x0.webp",0.72,{"start":186,"end":203},13,{"type":205,"text":206,"depth":150},"type_text","\u003Ch4>Searching for Traces in the Monastic Cell\u003C/h4>\n\u003Cp>Reduced figures drawn in red that despite their plainness unfold a strong appeal—Ariane Epars encountered these drawings in a monk’s cell when she first visited St. George’s Abbey in 2013. Eleven years later, she returns with similar questions: Who created these pictures and what did they want to express? The cantonal cultural heritage preservation describes the depictions as “offhandedly drawn in red without any artistic aspiration.”\u003Csup class=\"footnote\">1\u003C/sup> But the artist is convinced that these drawings are more than just scribblings.\u003C/p>",{"type":129,"image":208,"caption":220,"grid_space":221,"depth":150,"teaser_image":187},{"urls":209,"description":19,"ratio":183,"resized":147},[210,212,214,216,218],{"url":211,"width":134},"https://backend.air-chretzeturm.ch/site/assets/files/3050/chretzeturm-ariane-epars-1-7qum.400x0.webp",{"url":213,"width":137},"https://backend.air-chretzeturm.ch/site/assets/files/3050/chretzeturm-ariane-epars-1-7qum.800x0.webp",{"url":215,"width":140},"https://backend.air-chretzeturm.ch/site/assets/files/3050/chretzeturm-ariane-epars-1-7qum.1200x0.webp",{"url":217,"width":179},"https://backend.air-chretzeturm.ch/site/assets/files/3050/chretzeturm-ariane-epars-1-7qum.1600x0.webp",{"url":219,"width":182},"https://backend.air-chretzeturm.ch/site/assets/files/3050/chretzeturm-ariane-epars-1-7qum.2000x0.webp","\u003Cp>Monk’s cell in St. George’s Abbey\u003C/p>",{"start":222,"end":203},4,{"type":205,"text":224,"depth":150},"\u003Cp>The motifs show half figures—a person with a pointed headdress, upward reaching arms and outstretched tongue, flanked by two further figures facing him. Other figures appear next to empty banners or raise a glass. Particularly remarkable is an almost life-size depiction of a falcon sitting on a branch.\u003Csup class=\"footnote\">2\u003C/sup> For Ariane Epars, image worlds emerge here that reflect both the austere reality of monastic life and the imaginary spaces of the monks.\u003C/p>",{"type":129,"image":226,"caption":220,"grid_space":238,"depth":150,"teaser_image":187},{"urls":227,"description":19,"ratio":146,"resized":147},[228,230,232,234,236],{"url":229,"width":134},"https://backend.air-chretzeturm.ch/site/assets/files/3004/chretzeturm-ariane-epars-hm0z.400x0.webp",{"url":231,"width":137},"https://backend.air-chretzeturm.ch/site/assets/files/3004/chretzeturm-ariane-epars-hm0z.800x0.webp",{"url":233,"width":140},"https://backend.air-chretzeturm.ch/site/assets/files/3004/chretzeturm-ariane-epars-hm0z.1200x0.webp",{"url":235,"width":143},"https://backend.air-chretzeturm.ch/site/assets/files/3004/chretzeturm-ariane-epars-hm0z.1600x0.webp",{"url":237,"width":143},"https://backend.air-chretzeturm.ch/site/assets/files/3004/chretzeturm-ariane-epars-hm0z.2000x0.webp",{"start":222,"end":186},{"type":129,"image":240,"caption":19,"grid_space":252,"depth":150,"teaser_image":187},{"urls":241,"description":19,"ratio":146,"resized":147},[242,244,246,248,250],{"url":243,"width":134},"https://backend.air-chretzeturm.ch/site/assets/files/3005/chretzeturm-ariane-epars-1-kdyu.400x0.webp",{"url":245,"width":137},"https://backend.air-chretzeturm.ch/site/assets/files/3005/chretzeturm-ariane-epars-1-kdyu.800x0.webp",{"url":247,"width":140},"https://backend.air-chretzeturm.ch/site/assets/files/3005/chretzeturm-ariane-epars-1-kdyu.1200x0.webp",{"url":249,"width":143},"https://backend.air-chretzeturm.ch/site/assets/files/3005/chretzeturm-ariane-epars-1-kdyu.1600x0.webp",{"url":251,"width":143},"https://backend.air-chretzeturm.ch/site/assets/files/3005/chretzeturm-ariane-epars-1-kdyu.2000x0.webp",{"start":186,"end":203},{"type":205,"text":254,"depth":150},"\u003Ch4>The Color of Memory\u003C/h4>\n\u003Cp>A key to these drawings could lie in their coloring. An art historian, whom the artist consulted and who is very knowledgeable in wall paintings from 1500 to the 1650s, assumes that the natural pigment sinopia was used for the drawings.\u003Csup class=\"footnote\">3\u003C/sup> It is a natural iron oxide that shimmers in reddish-brown to ocher shades. The pigment, named after the ancient city of Sinope in Asia Minor (today’s Sinop in Turkey), had been used since antiquity and is known above all for its use in underdrawings for fresco paintings.\u003Csup class=\"footnote\">4\u003C/sup>\u003C/p>\n\u003Cp>Not far from the plain red lines and figures of the sinopia drawings in the monk’s cell is a room with a “more artful” fresco, presumably created by invited artists. It is indeed conceivable that the monk’s own wall drawings were inspired by these professional works. Especially the female figure with a hairnet appearing in the drawings could indicate that the monk adopted details of the stylized pictorial language of the artists and integrated them in his own intuitive drawings.\u003Csup class=\"footnote\">5\u003C/sup>\u003C/p>",{"type":129,"image":256,"caption":268,"grid_space":269,"depth":150,"teaser_image":187},{"urls":257,"description":19,"ratio":183,"resized":147},[258,260,262,264,266],{"url":259,"width":134},"https://backend.air-chretzeturm.ch/site/assets/files/3052/chretzeturm-ariane-epars-1-vul0.400x0.webp",{"url":261,"width":137},"https://backend.air-chretzeturm.ch/site/assets/files/3052/chretzeturm-ariane-epars-1-vul0.800x0.webp",{"url":263,"width":140},"https://backend.air-chretzeturm.ch/site/assets/files/3052/chretzeturm-ariane-epars-1-vul0.1200x0.webp",{"url":265,"width":179},"https://backend.air-chretzeturm.ch/site/assets/files/3052/chretzeturm-ariane-epars-1-vul0.1600x0.webp",{"url":267,"width":182},"https://backend.air-chretzeturm.ch/site/assets/files/3052/chretzeturm-ariane-epars-1-vul0.2000x0.webp","\u003Cp>Ariane Epars in the banqueting hall of St. George’s Abbey\u003C/p>",{"start":10,"end":186},{"type":129,"image":271,"caption":285,"grid_space":286,"depth":150,"teaser_image":187},{"urls":272,"description":19,"ratio":284,"resized":147},[273,275,277,279,282],{"url":274,"width":134},"https://backend.air-chretzeturm.ch/site/assets/files/3055/chretzeturm-ariane-epars-1-uixc.400x0.webp",{"url":276,"width":137},"https://backend.air-chretzeturm.ch/site/assets/files/3055/chretzeturm-ariane-epars-1-uixc.800x0.webp",{"url":278,"width":140},"https://backend.air-chretzeturm.ch/site/assets/files/3055/chretzeturm-ariane-epars-1-uixc.1200x0.webp",{"url":280,"width":281},"https://backend.air-chretzeturm.ch/site/assets/files/3055/chretzeturm-ariane-epars-1-uixc.1600x0.webp",1391,{"url":283,"width":281},"https://backend.air-chretzeturm.ch/site/assets/files/3055/chretzeturm-ariane-epars-1-uixc.2000x0.webp",0.73,"\u003Cp>Monk’s cell in St. George’s Abbey, detail\u003C/p>",{"start":186,"end":203},{"type":205,"text":288,"depth":150},"\u003Cp>Ariane Epars sees an intriguing interplay here: The juxtaposition and coexistence of the two image worlds—professionally designed fresco art and the rough and spontaneous sinopia drawings—reveal a connection between formal skills and personal expression.\u003Csup class=\"footnote\">6\u003C/sup> It is possible that the monk not only attempted a naive imitation with the wall drawings, but developed his own language—in a dialog with what he saw next door.\u003C/p>\n\u003Cp>In the plain and earth-colored drawings, Ariane Epars also recognizes a connection to the earliest traces of human art in cave paintings.\u003Csup class=\"footnote\">7\u003C/sup> They indeed share a similar reduction, they are places of concentration, sparse and yet highly expressive. Perhaps the monk could only arrive at such a sober and at once resonantly unadulterated expression in the austerity of these dormitories characterized by the liberation from material goods. In fact, the question arises as to whether his ideas were really just “offhandedly drawn”\u003Csup class=\"footnote\">8\u003C/sup> without any purposeful aspiration, as stated in the overview of the cantonal monuments of art, or whether he was instead consciously seeking a personal pictorial language that would provide him with a means of expression in his barren environment to create a narrative or symbolic relation to the world outside the monastery walls.\u003C/p>",{"type":205,"text":290,"depth":150},"\u003Ch4>Touching and Being Touched\u003C/h4>\n\u003Cp>Ariane Epars is particularly fascinated by the manual gesture of painting. “Touching and coloring the walls was perhaps a way of creating one’s own reality,”\u003Csup class=\"footnote\">9\u003C/sup> she ponders. The lines, often incomplete or fragmentary, develop a language of their own. The movement of the hands leaving these signs behind appears as an echo of the time—an expression that remains dynamic.\u003C/p>",{"type":129,"image":292,"caption":304,"grid_space":305,"depth":150,"teaser_image":187},{"urls":293,"description":19,"ratio":10,"resized":147},[294,296,298,300,302],{"url":295,"width":134},"https://backend.air-chretzeturm.ch/site/assets/files/3022/chretzeturm-ariane-epars-48hu.400x0.webp",{"url":297,"width":137},"https://backend.air-chretzeturm.ch/site/assets/files/3022/chretzeturm-ariane-epars-48hu.800x0.webp",{"url":299,"width":140},"https://backend.air-chretzeturm.ch/site/assets/files/3022/chretzeturm-ariane-epars-48hu.1200x0.webp",{"url":301,"width":179},"https://backend.air-chretzeturm.ch/site/assets/files/3022/chretzeturm-ariane-epars-48hu.1600x0.webp",{"url":303,"width":179},"https://backend.air-chretzeturm.ch/site/assets/files/3022/chretzeturm-ariane-epars-48hu.2000x0.webp","\u003Cp>Monk’s cell in St. George’s Abbey, details\u003C/p>",{"start":10,"end":306},3,{"type":129,"image":308,"caption":19,"grid_space":320,"depth":150,"teaser_image":187},{"urls":309,"description":19,"ratio":10,"resized":147},[310,312,314,316,318],{"url":311,"width":134},"https://backend.air-chretzeturm.ch/site/assets/files/3023/chretzeturm-ariane-epars-xrxe.400x0.webp",{"url":313,"width":137},"https://backend.air-chretzeturm.ch/site/assets/files/3023/chretzeturm-ariane-epars-xrxe.800x0.webp",{"url":315,"width":140},"https://backend.air-chretzeturm.ch/site/assets/files/3023/chretzeturm-ariane-epars-xrxe.1200x0.webp",{"url":317,"width":179},"https://backend.air-chretzeturm.ch/site/assets/files/3023/chretzeturm-ariane-epars-xrxe.1600x0.webp",{"url":319,"width":179},"https://backend.air-chretzeturm.ch/site/assets/files/3023/chretzeturm-ariane-epars-xrxe.2000x0.webp",{"start":306,"end":321},5,{"type":129,"image":323,"caption":19,"grid_space":335,"depth":150,"teaser_image":187},{"urls":324,"description":19,"ratio":10,"resized":147},[325,327,329,331,333],{"url":326,"width":134},"https://backend.air-chretzeturm.ch/site/assets/files/3024/chretzeturm-ariane-epars-qadb.400x0.webp",{"url":328,"width":137},"https://backend.air-chretzeturm.ch/site/assets/files/3024/chretzeturm-ariane-epars-qadb.800x0.webp",{"url":330,"width":140},"https://backend.air-chretzeturm.ch/site/assets/files/3024/chretzeturm-ariane-epars-qadb.1200x0.webp",{"url":332,"width":179},"https://backend.air-chretzeturm.ch/site/assets/files/3024/chretzeturm-ariane-epars-qadb.1600x0.webp",{"url":334,"width":179},"https://backend.air-chretzeturm.ch/site/assets/files/3024/chretzeturm-ariane-epars-qadb.2000x0.webp",{"start":321,"end":336},7,{"type":129,"image":338,"caption":19,"grid_space":350,"depth":150,"teaser_image":187},{"urls":339,"description":19,"ratio":10,"resized":147},[340,342,344,346,348],{"url":341,"width":134},"https://backend.air-chretzeturm.ch/site/assets/files/3025/chretzeturm-ariane-epars-j5zy.400x0.webp",{"url":343,"width":137},"https://backend.air-chretzeturm.ch/site/assets/files/3025/chretzeturm-ariane-epars-j5zy.800x0.webp",{"url":345,"width":140},"https://backend.air-chretzeturm.ch/site/assets/files/3025/chretzeturm-ariane-epars-j5zy.1200x0.webp",{"url":347,"width":179},"https://backend.air-chretzeturm.ch/site/assets/files/3025/chretzeturm-ariane-epars-j5zy.1600x0.webp",{"url":349,"width":179},"https://backend.air-chretzeturm.ch/site/assets/files/3025/chretzeturm-ariane-epars-j5zy.2000x0.webp",{"start":336,"end":186},{"type":129,"image":352,"caption":19,"grid_space":364,"depth":150,"teaser_image":187},{"urls":353,"description":19,"ratio":10,"resized":147},[354,356,358,360,362],{"url":355,"width":134},"https://backend.air-chretzeturm.ch/site/assets/files/3026/chretzeturm-ariane-epars-ymds.400x0.webp",{"url":357,"width":137},"https://backend.air-chretzeturm.ch/site/assets/files/3026/chretzeturm-ariane-epars-ymds.800x0.webp",{"url":359,"width":140},"https://backend.air-chretzeturm.ch/site/assets/files/3026/chretzeturm-ariane-epars-ymds.1200x0.webp",{"url":361,"width":179},"https://backend.air-chretzeturm.ch/site/assets/files/3026/chretzeturm-ariane-epars-ymds.1600x0.webp",{"url":363,"width":179},"https://backend.air-chretzeturm.ch/site/assets/files/3026/chretzeturm-ariane-epars-ymds.2000x0.webp",{"start":186,"end":365},11,{"type":129,"image":367,"caption":19,"grid_space":379,"depth":150,"teaser_image":187},{"urls":368,"description":19,"ratio":10,"resized":147},[369,371,373,375,377],{"url":370,"width":134},"https://backend.air-chretzeturm.ch/site/assets/files/3027/chretzeturm-ariane-epars-4b0q.400x0.webp",{"url":372,"width":137},"https://backend.air-chretzeturm.ch/site/assets/files/3027/chretzeturm-ariane-epars-4b0q.800x0.webp",{"url":374,"width":140},"https://backend.air-chretzeturm.ch/site/assets/files/3027/chretzeturm-ariane-epars-4b0q.1200x0.webp",{"url":376,"width":179},"https://backend.air-chretzeturm.ch/site/assets/files/3027/chretzeturm-ariane-epars-4b0q.1600x0.webp",{"url":378,"width":179},"https://backend.air-chretzeturm.ch/site/assets/files/3027/chretzeturm-ariane-epars-4b0q.2000x0.webp",{"start":365,"end":203},{"type":205,"text":381,"depth":150},"\u003Cp>One can turn one’s hands this way and that and look at them from all sides—something that is not possible with other parts of the body. The filmmaker Harun Farocki pointed this out in his short film The Expression of Hands (1997).\u003Csup class=\"footnote\">10\u003C/sup> This notion is interesting in the context of Ariane Epars’ observation of moving hands. The hands of the monk who created the sinopia drawings also appear to have left behind not only physical traces but also symbolic ones: They speak of a relationship between the painter and his environment.\u003C/p>",{"type":129,"image":383,"caption":395,"grid_space":396,"depth":150,"teaser_image":187},{"urls":384,"description":19,"ratio":146,"resized":147},[385,387,389,391,393],{"url":386,"width":134},"https://backend.air-chretzeturm.ch/site/assets/files/3011/chretzeturm-ariane-epars-qum7.400x0.webp",{"url":388,"width":137},"https://backend.air-chretzeturm.ch/site/assets/files/3011/chretzeturm-ariane-epars-qum7.800x0.webp",{"url":390,"width":140},"https://backend.air-chretzeturm.ch/site/assets/files/3011/chretzeturm-ariane-epars-qum7.1200x0.webp",{"url":392,"width":143},"https://backend.air-chretzeturm.ch/site/assets/files/3011/chretzeturm-ariane-epars-qum7.1600x0.webp",{"url":394,"width":143},"https://backend.air-chretzeturm.ch/site/assets/files/3011/chretzeturm-ariane-epars-qum7.2000x0.webp","\u003Cp>Ariane Epars in the monk’s cell in St. George’s Abbey\u003C/p>",{"start":222,"end":186},{"type":205,"text":398,"depth":150},"\u003Cp>Here, the hand is not understood as a tool but as a medium of engaging with space and time. The wall drawings, as incomplete as they may appear, possess a symbolic character. They are a kind of translation of the moment surrounding the monk—a bridge between the inner world of the monk and the outside world.\u003Csup class=\"footnote\">11\u003C/sup> Similar to the way Farocki regards the hand as the center of expression and perception, Ariane Epars sees a trace of his touch in the monk’s wall drawings, but also a reflection of materiality and creative drive. They extend far beyond the purely visual level.\u003C/p>\n\u003Cp>Another motif that Ariane Epars is especially preoccupied with is the cleric sticking out his tongue. She studied historical texts on the meaning of this gesture in the Middle Ages and recognizes an idiosyncratic humor in it, perhaps also an expression of hidden emotions or inner conflicts.\u003C/p>",{"type":205,"text":400,"depth":150},"\u003Ch4>A Space of Inconclusiveness\u003C/h4>\n\u003Cp>For Ariane Epars, the space of the monastic cell remains ambiguous. The drawn figures unfold a “groundless” quality—they are simultaneously visible and ungraspable, both present and in limbo. The artist deems this ambivalence productive, because the drawings open up a space of imagination that goes far beyond what is visible.\u003Csup class=\"footnote\">12\u003C/sup>\u003C/p>\n\u003Cp>Processuality and inconclusiveness—these principles characterize not only her artistic engagement with the monastery, but also her entire oeuvre. In the past, she has demonstrated with remarkable consistency that artistic thinking can lead to a different kind of knowledge—a knowledge that does not imply one-sidedness. Instead, her art is shaped by a “wanting to know” that grasps uncertainty as something productive. This gives rise to a thought by the philosopher Jacques Derrida, who with his concept of différance\u003Csup class=\"footnote\">13\u003C/sup> emphasized precisely the impossibility of determining meanings once and for all. Rather, he saw in the failure of such attempts an opportunity to expand thought. Ariane Epars’ dealing with the monk’s cell, too, does not reduce the space of the cell to a clear or sole meaning or interpretation. The space remains an open process and is therefore also significant for a present time.\u003C/p>\n\u003Cp>There are always works that are never really completed, says the artist—and sometimes these incomplete projects open up entirely new perspectives.\u003Csup class=\"footnote\">14\u003C/sup> Therefore, her search for traces in St. George’s Abbey remains an invitation to not only view the past of these wall drawings, but also to explore their topicality. Ariane Epars thus stands for an art that does not seek finality but underscores becoming.\u003C/p>",{"type":129,"image":402,"caption":184,"grid_space":414,"depth":150,"teaser_image":187},{"urls":403,"description":19,"ratio":183,"resized":147},[404,406,408,410,412],{"url":405,"width":134},"https://backend.air-chretzeturm.ch/site/assets/files/3036/chretzeturm-ariane-epars-2zco.400x0.webp",{"url":407,"width":137},"https://backend.air-chretzeturm.ch/site/assets/files/3036/chretzeturm-ariane-epars-2zco.800x0.webp",{"url":409,"width":140},"https://backend.air-chretzeturm.ch/site/assets/files/3036/chretzeturm-ariane-epars-2zco.1200x0.webp",{"url":411,"width":179},"https://backend.air-chretzeturm.ch/site/assets/files/3036/chretzeturm-ariane-epars-2zco.1600x0.webp",{"url":413,"width":182},"https://backend.air-chretzeturm.ch/site/assets/files/3036/chretzeturm-ariane-epars-2zco.2000x0.webp",{"start":222,"end":365},{"type":205,"text":416,"depth":150},"\u003Cp>Ariane Epars was Artist in Residence at the Chretzeturm of the Jakob and Emma Windler Foundation from April to May 2024.\u003C/p>\n\u003Cp>Text: Julia Wolf\u003Cbr />Images: Roberta Fele\u003C/p>",{"type":418,"footnotes":419},"type_footnotes",[420,422,424,426,428,429,432,433,436,437,440,441,443,445],{"number":10,"text":421},"\u003Cp>Reinhard Frauenfelder: \u003Cem>Die Kunstdenkmäler des Kantons Schaffhausen. Band II: Der Bezirk Stein am Rhein.\u003C/em> Basel: Verlag Bükhäuser, 1958, p. 154.\u003C/p>",{"number":149,"text":423},"\u003Cp>Cf. ibid.\u003C/p>",{"number":306,"text":425},"\u003Cp>Cf. Ariane Epars in conversation with the author, notes from May 2024.\u003C/p>",{"number":222,"text":427},"\u003Cp>Cf. Helmut Schweppe: \u003Cem>Handbuch der Naturfarbstoffe. Vorkommen, Verwendung, Nachweis. \u003C/em>Hamburg: Nikol-Verl.-Gesellschaft, 1993, p. 34. Sinopia is already mentioned by the Roman historian Pliny the Elder in his \u003Cem>Historia naturalis\u003C/em>. This pigment, which was found in northern Africa as well as on Lemnos und in Cappadocia, was used by painters “to achieve a special gloss.” Ibid.\u003C/p>",{"number":321,"text":425},{"number":430,"text":431},6,"\u003Cp>Ibid.\u003C/p>",{"number":336,"text":431},{"number":434,"text":435},8,"\u003Cp>Cf. Frauenfelder 1958, p. 154.\u003C/p>",{"number":186,"text":425},{"number":438,"text":439},10,"\u003Cp>Cf. \u003Ca href=\"https://www.harunfarocki.de/de/filme/1990er/1997/der-ausdruck-der-haende.html\">https://www.harunfarocki.de/de/filme/1990er/1997/der-ausdruck-der-haende.html\u003C/a> (as of: 11/30/2024).\u003C/p>",{"number":365,"text":425},{"number":442,"text":431},12,{"number":203,"text":444},"\u003Cp>Jacques Derrida: “Différance.” In: Margins of Philosophy. Chicago & London: Chicago University Press, 1982.\u003C/p>",{"number":446,"text":425},14,1792861135770]