ARTISTS: Alex Baczynski-Jenkins, Pol Esteve Castelló, Matt Copson, Anthea Hamilton.

The night is an elusive terrain that defies an easy definition. Coming from old age and going past the apocalypse. Rising from our most intimate thoughts and leaving behind our very daily public selves. The night not only revolves around clubbing, youth, desire, safe or unsafe spaces; it is intimately inhabited by animals, night flowers, mothers, workers, sleepwalkers, lonely dancers, and perfect strangers who prefer to live without witnesses. Not properly a space, nor entirely a time, nor fully a state: the night plunges us in the realm of the fugitive and the experiential, and vanishes once we attempt to enclose it in a fixed signifier.

The question then might not be what the night is but, rather, what the night does: what countless sensorial possibilities does it enable, what thick atmospheres and currents does it trigger, what social choreographies and what specters thrive in it, what textures does it wear and what rhythms does it cultivate, what traces and residues does it leave behind. And, moreover, we are interested in what is that produces night: what are the gestures, actions, materials that invoke and provoke nocturnality, even in plain day. What are, in sum, the myriad potentials that the night holds.

Myriad Reflector is an exhibition exercise into the nocturnality. Conceived as a multilayered score unfolding through time, the contributions of artists —composed by light, sonic, rhythmic, smell, haptic, and choreographic elements— intermingle in a kaleidoscopic display defined by disorientation, refractive perspectives, and sensual textures. This, in turn, will be devised to host a panoply of study sessions, discussions, presentations, and performances around the nocturnal. The exhibition will then be weaved through distinct rhythms and intensities: being activated through a program of night flashes, and operating as a twilight atmosphere the rest of the time.

The title Myriad Reflector refers to the first name given to the disco ball invented by the American entrepreneur Louis Bernard Woeste back in 1917. This proposition functions exactly like the object it cites: as the reflection of a myriad lustrous elements that do not aim to convey the night or a specific night but, again, seeks to resist any given representation or signification to dive instead in the wild profusion lurking in this darkness.