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Adrian Ganea & Maria Guţă, Parallels, CAN, 2022
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This publication follows Parallels, the exhibition presented at the CAN Centre d'art Neuchâtel from January 30 to December 18, 2022. Conceived as a cross between a collective and individual format, it unfolded in a constant fluctuation between five spaces and three chapters, bringing together 19 proposals/exhibitions, each accompanied by texts, as well as 15 concerts and performances presented during 9 evenings.
The volume retraces this “multiversal” experience through over 50 contributions including texts, floor plans, lists of works, illustrations, and ghostly images.
Below you can read the essay by Marie DuPasquier featured in the publication.
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Philippe Wicht, Parallels, CAN, 2022
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SIDEREAL PRESENCE
by Marie DuPasquier
Rue des Moulins 37. I remember an ocu- lus that I had spotted before. It seemed to observe me as much as I observed it. As I glimpsed through and gazed into the exhibition space my vision was obstructed for a short moment by the dazzling icy sun rays. Thus, the narrow entry looked like a darkly lit under- ground path. I could barely determine the hue. “On en reste bleu, on voit rouge, on est vert”, they said.
I stepped in. The entrance hall opened onto the vast distribution space of the CAN formed by a large communication routes network acting like the telescopic arms of the architecture. Reaching out, drawing in, connecting different reali- ties, levels and states. They invited me to stay.
So I sat there, and the corridor became a hospitality area that allowed me to rest, in expectancy. Reflecting on the endless combinations of the waiting room’s amberlike modular structure, I realized that this corridor display was slowly shifting into a free-floating location that possessed a somewhat destabilizing, transitory quality. A vessel which was nothing but a long maze- like airlock made of lanes and lobbies, gates and thresholds; it nevertheless had its own rules, an identity, and a weightlessness to be shared with its still-undetectable inhabitants.
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Save My Skin Music, Parallels, CAN, 2022
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Resting, waiting, cogitating. Lento. A haze thickened, becoming a bluish veil of auroral obscurity. I sat unaware that the changeover had already started. Dr. Clair in J. G. Ballard’s Crystal World (1966) was so mesmerized by the sinister beauty of the invasive quartzes that she surrendered physically to their spread. Like her, I lingered with pleasure in an addictive liminal state of semi-consciousness. I had not realized as I entered the airlock, where referential and parallel universes meet, that I would be walking into a transition phase. The twitching of the neon lights woke me from my torpor and I saw it, the vibrating punctum, staring at me and gently pulling me out.
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Periphery Serpentine with Dixflöppi, Ana Jikia and Manuel Schneider, Parallels, CAN, 2022
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