Tom Holert

IN 1826, VENICE’S TEATRO GOLDONI, a venerable establishment near the Rialto Bridge, obtained the first gas chandelier in Italy. With this bit of history in mind, the theater seemed just the right place to host No Night No Day, 2009, an “abstract opera” created by artist and filmmaker Cerith Wyn Evans and sound artist Florian Hecker. Chandeliers, particularly those made of Murano glass on the Venetian island of the same name, have been components of Wyn Evans’s work for the past few years: Since 2002, the Welsh artist has deployed light that is reflected in pendants shaped by Murano masters and programmed to flash mysterious Morse-code messages. It’s an anchoring motif in a repertoire of light-manipulating strategies—involving mirrors, disco balls, fluorescent columns—by which he transforms exhibition spaces into sites of luminescent, poetic hermeticism.

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