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Marie Jager, Queen Alexandra Sanatorium (Davos), 2011, sun on architectural blueprint, 26 x 47".

Marie Jager

Pepin Moore

Marie Jager, Queen Alexandra Sanatorium (Davos), 2011, sun on architectural blueprint, 26 x 47".

The passage of time is a major leitmotif of Thomas Mann’s 1924 novel The Magic Mountain. Indeed, one chapter of that bildungsroman, set in a sanatorium in the Swiss Alps, is even titled “Excursus on the Sense of Time.” Really an excursus on the procedure for properly wrapping oneself in a blanket, that section quickly develops into a dialogue about the relativity of time, as two characters grow ever more aware of it during their attempted recoveries from tuberculosis: “Emptiness and monotony,” writes Mann, “may stretch a moment or even an hour and make it ‘boring,’ but they can likewise abbreviate and dissolve large, indeed the largest units of time, until they seem nothing at all.”

Borrowing Mann’s title, Marie Jager’s recent exhibition at Pepin Moore was likewise concerned with the passage of time, but the works gathered presented less an excursus than a demonstration of temporal

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