The backdrop is scrolling.
Elements move. I stay still. 
 
Neuchâtel. 
Thrown back to this daily 30mn train ride, taken for a while to go to work. Precisely as one would like to use, as an opportune in-between-space, barely escaping the logic of efficiency. Here, I stand for idleness, replay, extrapolation and letting go. It reminds me this sequence of a film by Roy Andersson, a vision bathed in the hazy atmosphere of a dreamlike tale; much like the whole film actually. A couple stays still, but out of the kitchen window, the landscape unfolds at the pace ofthe constant appearance of pillars. Is that a state of rest?
 
Greasy forehead marks of former passengers on the glass open the door to all kinds of fantasies about unreadable presences in this territory, temporarily self-declared as its own. Look far, look closer. How do you keep the right distance? I close the eyes. The thread goes on. 
 
Between Hamburg and Italy.
Now. I’m looking at footages of others, altered and variegated like rainbows by the highly noxious contemporary cocktails. Rainbowwas the name of the bus company. A good name for selling peaceful dreams, isn’t it? Behind the glass, I see them sleep. What are they dreaming about? Perhaps they’re out on an excursion; one of those revealing, and now in a more acidic way, the privilege of being collectively unconscious of the possibilities of free circulation across borders. “So bleiben bis heute nur 2 Seiten – vor oder hinter denen man träumt“ Jeschkelanger once said. The photographic figures back-to-back with pictorial visions are part of their workPolymere Entspannung. 
 
Café Luzia, Berlin.
Polymere Entspannung precisely. Three double-sided frames are installed at regular intervals in the window-case of the momentarily unoccupied Café Luzia. They are pierced by oblong blown-glass containers that act as connectors between both faces, interweaving their media and holding the pieces together. More precisely they are like the hyphen to combinetwo words into a new entity. Stable with various joined display-like elements, the mounts are perpendicular to the glass and offer their retroreflective and fluorescent edge to the street, allowing a biased vision of the surfaces and so defying the usual picture plane of bidimentionality. Protected by the glass, they are intended to be seen from the outside, left to the furtive sideways glances of passers-by, willingly indulged in a kind of window-shopping dissolving into self-observation. 
 
Elements stay. I go on. 

This text was made to accompany “Polymere Entspannung” by Jeschkelanger shown with the expanding exhibition project solo between April and May 2020 during the covid-19 crisis.