The exhibition confronts the figure of Saint Anthony the Great with the work of contemporary artist Christian Jaccard
Suspended and highlighted banners structure the space upon entering
So called 'reading manuals' explain the iconography of the different statues
A dotted grid structures the graphic design and refers to the works of Christian Jaccard
Ipads allow for closer reading of sensitive manuscripts
Castle chimneys are used as reading space
The lighting and book motives placed around the different passageways indicate the exhibition trajectory to the visitors.
New interpretation of the existing castle architecture.
Different sculptural and regional styles are compared and analyzed
Manuscripts are textually and graphically explained.

From June 7th until September 22nd, the exhibition ‘Feux Sacrés’ is held at the Musée-Château of Annecy. Designed by Implicite, a design and scenography studio from Chamonix-Mont-Blanc, it presents the figure of Saint Anthony the Great; a healing saint particularly worshipped in the Alps during the middle ages. This exhibition is part of a larger network called ‘sculpture médiévale dans les alpes’, which also includes five other exhibitions organised between April and December in Chambéry, in Aosta and Susa in Italy and in Genève and Sion in Switzerland. Inspired by iconic representations of saints and architectural precepts for religious structures, the scenography shows manuscripts, paintings, etchings and sculptures in different constellations. Aiming to be mystical and rich as well as calm and comprehensive, it aims to help understand the
development from a faith and a miracle towards an organisation and a cult.
Rythmed by so called ‘oeuvres mode d’emploi’ (manual works) and guided by the lighting design, the visitor or pilgrim finds all the necessary keys to the comprehension of Saint Anthony the Great, while at the same time explaining the complex notion of the holy and the medieval devotional traditions of the Savoy region. Saint Anthony also addresses the younger visitors: the castles chimneys and integrated tier seating serve as didactic spaces where the history and adventures of Saint Anthony are told. In parallel and an integral part of the Feux Sacrés exhibition, the contemporary artist Christian Jaccard occupies the ‘salle des colonnes’ with an accumulation of his supranodal sculptures formed out of countless knots. As is the goal of the curators of the Feux Sacrés exhibition, the graphic design avoids a categorization between classical and contemporary. It is designed in a simple contrast of black and white, on a background forming a grid of small dots or knots. Like the scenography, all is aimed at interpreting, explaining and confronting the different pieces.