Day for Night Artist Series: Refik Anadol
Infinity Room
An enclosed projection environment in which mirrored walls extend a field of moving light past the limits of the room.
View Infinity RoomSilver Street Studios: code, projection and light in the warehouses
The first Day for Night placed a programme of light, code and projection across the warehouses and yards of Silver Street Studios and set it beside a music bill led by Kendrick Lamar, New Order and the Philip Glass Ensemble. Alex Czetwertynski curated the visual programme. The surviving placement record assigns each work a building or exterior wall: a gallery and its hallway, the Green Warehouse, the Pedal Party warehouse, the side of the Vespa building, and the exterior surfaces between stages.
The 2015 programme reads today as a cross-section of the practice then gathering under the name new media: Casey Reas's software drawing, Refik Anadol's immersive projection room, NONOTAK's Volume in a bare warehouse, Zach Lieberman's interactive projection on a building face, and smaller works that put Kinect tracking, spatial audio and audience telephones to use. Houstonia's December review described festival-goers stepping into a room where Casey Reas projected a digitised image on the wall and into a massive light exhibit NONOTAK assembled inside an empty warehouse.
“A music festival inside an art installation.”
An enclosed projection environment in which mirrored walls extend a field of moving light past the limits of the room.
View Infinity RoomA field of light and strobe fixtures built on scaffolding inside the Green Warehouse: the entrance installation of the first Day for Night.
View VolumeAn architectural-scale interactive projection on the side of the Vespa building: two blended projectors, a live light table under an overhead camera as the instrument, and ambient sound.
View re:flectReinterpretations of pioneering computational artworks shown beside the code that drives them, in the gallery's east room.
View Re-CodedAn exterior interactive projection: imagery of natural forms deformed and reformed by rule-driven software responding to the movement of the crowd.
View Primary FormsAn interactive kinetic LED sculpture: an eight-foot rotating infinite-spiral form, with projected caustics on a white wall.
View Light ColliderA long Plexiglas box suspended from the ceiling and filled with fog, in which an internal projector draws continuously changing generative patterns as a three-dimensional object of light, with sound.
View transduktorA live audiovisual performance by Markus Heckmann and Matt Thibideau at the 2015 edition, recorded in the artist's CV; distinct from Heckmann's installation transduktor.
A simulated jungle of white-painted artificial plants under a single bulb and projection, imagining plants asleep and dreaming.
View PhotoperiodA site-specific vertical video projection and sound environment commissioned for the first Day for Night; visuals by Kamil Nawratil, sound by Javier Cruz.
View TimespaceA series of minimal motion-graphic loops made for two contexts, the handheld phone via Instagram and the gallery, shown as a square projection with sound in the gallery hallway.
An exterior twin-projection environment that responds to its immediate sound environment, fed by the festival's audio and the ambient sound of the crowd.
View The Audio Reflex FramesA collective amplifier: each visitor's phone plays a separate part of a score, and the crowd becomes an impromptu ensemble.
View SparseA giant bug-zapper: an illuminated hexagonal, tubular light structure in the gas-station area, with haze and sound, under a lit sign inviting visitors to come touch it.
View Come Touch ItAn audiovisual installation of projected structural forms and sound, with music by James Ginzburg and Yair Elazar Glotman; presented at Day for Night as a projection block between music acts.
View BlueprintA live audiovisual performance in which real-time analysis of the sound drives an algorithmic generator of three-dimensional visual material; nothing in it is prerecorded.
View ALPHA