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Permanent dance floor: special painting

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Artists who work at night know better than the human eye changes without light. Some of us like to see night vision lightly or realize that we have, in the middle of the night or out of the dark, almost by accident.

Not for the artist, though. For them, the eye is another instrument, some glasses that can change the many, infinites that are required to hold the light intensity and contrast.

Many of the pictures in this special issue were taken at night. But the amount of light or darkness in it is not just a matter of art. Basically, it’s a story. Dancing, parties, words, flight – it all depends on the amount of light or darkness a person feels in their life or day or minute.

It was no coincidence, I think, that the best dance floor – whether in a private retirement room or a secret queer club in a homophobic dictatorship – is an alternative to international light.

You may ask, ‘As we did, why is it that we often ponder over social events in times of sadness and isolation?’ Because the heart, like the eyes, has a tendency to darken. And looking at these pictures, it is clear that this is a two-way street.

Matt Vella, editor, FT Weekend Magazine


Death of a parrot

All Photo captions, from Studio 54, New York, 1978-1980 © Tod Papageorge. Courtesy of Galerie Thomas Zander, Cologne

I made these scenes between 1978 and 1980 at Studio 54, a New York discotheque that, in those years, was a place to show off – as celebrities, partygoers and crazy crazy dancers who filled every night were thrilled to prove it. .

Given its history (which began to gain popularity in the group’s 33 months), it was difficult to enter: the immovable doorkeepers failed to enter as they headed in the right direction.

They are the only ones who know or connect with the people who may think they are finding themselves led by a group of celebrities who grind in a velvet line and enter the door. Otherwise, the thing that would really help was to be beautiful.

When we went inside, everyone seemed happy to be there, no matter how they managed – the excitement that came with the disco hit and the beautiful interior that, at a nightclub, could show off everything from a Caliban cave to a public house.

I was looking forward to taking these real body images and sweat with a passion that filled Studio 54 like the sky, using a mid-range camera and the flaws that made me help to do just that. Later, after following all those powers, he waited until 2014 for it to be published and shown for the first time.

Tod Papageorge is an artist based in New Haven, Connecticut, USA. “War & Peace in New York” is in Galerie Thomas Zander, Cologne, Germany until February 19 2022


Sasha Mademuaselle

Photographs taken in Moscow nightclubs, 2019-2020 © Sasha Mademuaselle

I filmed these pictures in 2019 and 2020 at nightclubs in Moscow, plus a limited area of ​​Horovod and Popoff Kitchen, which is why they have so many naked people.

In November 2020 in the capital of Russia we had time to get home 11pm, so night life just started, 6pm. It was fun.

Here people love to dance and party because when you do, you are free – and we do not have enough freedom according to the laws and the government. That is why we like to be comfortable in our own ways. Party parties are a way for people who are forced into their daily lives to push boundaries.

Sasha Mademuaselle is an artist based in Moscow, Russia


Dhruv Malhotra

Unnamed photos from the After Party series, 2009-2013 © Dhruv Malhotra

The night has always been very encouraging to me – the silence, the long-term awareness and the absence of confusion. I love the fact that the longer it looks, the more it becomes visible as the eye changes, and this goes on in my photos as I expose it for a long time to reveal what is left in the dark.

My nightly tours have taken me to many pages that can be transformed into a temporary experience and rearranged to fit other things. Such changes are usually the result of an event – a wedding, a party, a prayer meeting, a meeting or a public event – and they are gathered and resolved within a day or two.

I filmed many indifferent sites throughout India, to check them out and register before they ended. It is in this register that we can identify something, before it shakes and leaves.

Dhruv Malhotra is an artist based in Jaipur, India


Sasha Phyars-Burgess

© Sasha Phyars-Burgess / Capricious

The work is related to the idea of ​​release through parties and dancing. Although they are temporary and temporary in nature, places and places designed to dance and party among people of color, especially black people, serve as an unmistakable territory of permanent freedom.

Photographs were taken at various parties, balls and dances in Ithaca, New York, Brooklyn, New York and Philadelphia, Pennsylvania. It reminds me of the words of Frantz Fanon, a post-colonial philosopher who wrote in his 1961 book. The Poor on Earth: “Occasionally, on the other hand, men and women gather at certain places, and then, face-to-face, they throw themselves into seemingly chaotic, well-groomed, and elaborate sports. – shaking of the head, twisting of the back, throwing the whole body back – can be described in an open book of people’s great efforts to save themselves, to free themselves, to express themselves. There is no limit – inside the circle. “

Sasha Phyars-Burgess is an artist based in Chicago, USA. ‘Untitled’ is published by becapricious.com


Elaine Constantine

Photographs taken in 2000 at various football venues in Greater Manchester © Elaine Constantine / Industry Art

The “Tea Dance” films were the result of a conversation I had with my former student, Yuen Fong Ling, in 2000. I worked at Salford Technical College in the 1980s, running a dark room and studio there. Yuen had just been appointed manager of the newly opened Castlefield Gallery in Manchester and at his opening show he wanted something that sounded more traditional.

The 1990’s were still quite young and I was active in that work. The old post-war rituals were coming to an end and it was with young people – with their boundless desire and imagination – that everyone seemed to be looking to make the world a new place.

It would have been easy to take action around the youth culture in Manchester but my parents kept going and I realized I had to remember their country going forward. The generation I was in was so accustomed to understanding itself against their parents’ culture and beliefs that it was easy to ignore the depths that were the same – our parents experienced their music and dance, later – and the fact that our larger and more liberal choices were made hard work and dedication to the generation of our ancestors. In the workplace, this was especially true.

Elaine Constantine is an artist and filmmaker based in London, UK


Andrew Miksys

DISKO series, Lithuania 1999-2010 © Andrew Miksys

For 10 years during the noughties, I walked the back streets of Lithuania, painting young people in the discos village of my “DISKO” series. Many of the pictures here are in Soviet-era museums where I sometimes find discarded Lenin paintings, old movie posters, oil masks and other remnants of the Soviet Union. I was intrigued by the youths who entertained the garbage of this dead kingdom. The following pictures are of Lithuanian youth, history and uncertain future, all together in one room.

Andrew Miksys is an artist based in Vilnius, Lithuania


Mitch Epstein

Rosy, Meghraj Cabaret, Bombay, Maharashtra, India 1984
© Mitch Epstein. Courtesy of Galerie Thomas Zander, Cologne

In 1984, I was the director of filming on India Cabaret, a film by Mira Nair about the lives of six cabaret dancers at the Meghraj Cabaret in rural Bombay, India. At the end of the shoot, I put down my video camera and picked up just one. I drew the dancers and came from a faith that developed among us.

Mitch Epstein is an artist based in New York, USA. ‘India’ was published by steidl.de


Dana Lixenberg

V103 Steppers Ball at Hyatt Regency Hotel, Chicago 2002 © Dana Lixenberg

Back in the 1990’s, I was a regular contributor to the Vibe magazine, filming artists like Tupac and Biggie. In 2002, along with hip-hop pioneer and photographer Fab 5 Freddy, I was sent to Chicago to record his famous steppin ‘events, which began in black communities in the 1970s. Fab 5 Freddy was writing about Vibe.

Chicago steppin ‘direct parent and bop; is a type of dance in which the birds move and the most advanced of the ground is usually reserved for males. We went to the V103 Steppers Ball at the Hyatt Regency hotel, the biggest event in Chicago. There was a large crowd on the dance floor, so I put my lights and a 5×4 field-camera on the side of the main ballroom and invited some of the couples to show me their walk there.

The whole event was fun: very good music and people were dressed for the four children. “Seeing peddlers climb at the same time, grab each other and walk the right song when it comes is like seeing people walking on water,” Fab 5 Freddy wrote in his piece. “The dream-like beauty, the sublime, the orderly, and the cool atmosphere of the stepper comes into the room like a nightmare.”

Dana Lixenberg is an artist and filmmaker based in Amsterdam, Netherlands


This article is part of the FT Magazine package “Tales from dance hotspots”, featuring Rosa Lyster on the best fancy parties, Caleb Azumah Nelson on the the magic of a good DJ – and six authors of FT memory The best party he ever had

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