Ogive («Où gît le vœux») von Alice Bidault

Inside the large display case, four violet hemp ropes featuring various knots hang against the back wall. The ropes extend from the ceiling of the upper floor down to the floor of the case on the ground floor. Ranging in length from 5.20 to 8.50 meters, they connect the museum’s two levels, ending just above the floor or resting on it in random loops. Colored fabrics and seashells are interspersed among the knots.

The work *Ogive* (“Où gît le vœux”) by French artist Alice Bidault draws inspiration from the *quipu*, a knot-based recording system developed by the Inca culture in the 7th century. It is a complex information system that remains only partially deciphered to this day.

A traditional *quipu* consists of a horizontal main cord with several secondary cords (“quirps”) attached to it (Fig. 1). Various knots are tied into these secondary cords, ranging from simple single and double knots to figure-eight knots and complex, multi-looped knots. Their number, shape, color, and position represent numerical values ​​relating to goods, population figures, and the like (Fig. 2). Thus, the *quipu* served as a portable, mobile storage medium.

There are indications that colors and subtle details hold significance beyond mere numerical values. This communicative mystery has yet to be unraveled—a theme the artwork plays upon.

The pronunciation of the French title *Ogive* (“Où gît le vœux”) also plays a role: the similar sounds of “ogive” and “où gît” create the impression of a repetition.

In French, the word *ogive* has two distinct meanings: in architecture, it refers to the Gothic “pointed arch” (Fig. 3), while in a military context, it denotes a “warhead.” “Où gît” can be understood as “where lies” or “where rests”—analogous to the epitaph “ci-gît.” “Les vœux” signifies “wishes” or, in a religious context, “vows.”

Alice Bidault plays with language, pronunciation, and layers of meaning, thereby creating a space for personal reflection for the viewer. At the same time, the work’s material, tactile, and sensory qualities respond to the space and materials within the large display case at PAULUS.