Archives for posts with tag: Anne Krinsky

Reading stones could be considered the first instruments used to create an enhanced sensory experience. Originally made from ground and polished rock crystal or beryl, they were placed over texts to magnify them.

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This early optical technology paved the way toward observation of the furthest reaches of the universe and its minutest components.

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Both the telescope and microscope are referenced by the sculpture Baetylus installed on St. Augustine’s Tower roof for the exhibition Reading Stones.

1909 Baetylus installed St Augustines Tower

Baetylus (meaning from the house of god), are sacred stones/meteorites of divine origin.

In this case sold to me for £6, a 15mm Nickel Iron Meteorite from Campo Del Cielo Argentina, falling 5000-6000 years ago. Photographed with a macro lens and direct to media printed onto acrylic by Genesis printing. The steel frame expertly welded by Nick Amott of J.& R. Precision Engineers.

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The wind and rain on the roof soon added to the piece.

1909 Baetylus meteor shower

rain + meteor = meteor shower

An object falling through space distorts not only the space it travels through but also time as space and time are inexorably linked.

Each visit to the roof gave a different experience of the work.

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The act of “reading stones” can refer to both the scientific practice of geological investigation and the ritual of lithomancy which seeks to interpret the patterns of stones cast by those wishing to divine the future.

1909 Lithomancy reading

Offering ‘readings’ gave visitors a personal perspective to consider when thinking about how we experience time and negotiate the future. The board, a salvaged old table top was screen printed with a design created after researching the ancient art of lithomancy and prevalent variations. I gave the board a geological emphasis and aligned the areas of activity with traditional associations such as sedimentary = home, boulders = obstacles and challenges, strata = knowledge and experience.

1909 lithomancy board

The gemstones were assigned properties according to traditional meanings.

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It was magical to spend so much time within the thick stone walls of St. Augustine’s Tower, ascending and descending the steep narrow spiral stairs adding yet another infinitesimal trace to the worn history of the steps.

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Working with Carol Wyss and Anne Krinsky on this project was a pleasure and we were delighted with the public response to the exhibition.

1909 Carol Wyss All that remains

Carol Wyss All That Remains 

“My aim is to re-create the original ‘UR’ bone which has neither gender nor race, the first ever bone which existed, the one which fell from heaven or space. It is an attempt at merging all the bones of the human skeleton into one entity, which then becomes the common denominator, the starting point from which all bones and consequently all humans came. I am referring to the bible story of Eve’s creation from Adam’s rib, the Greek myth of Pyrrha with the creation of humans from the stones / bones of the earth and Da Vinci’s perfectly proportional Vitruvian man, as well as to science’s search for the ultimate building blocks of our universe.” Carol Wyss

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1909 Carol Wyss Os

Carol Wyss Os

Deucalion and his wife Pyrrha were the only survivors of the great deluge and landed on Mount Parnassus, the only place spared by the flood.
Deucalion consulted an oracle of Themis about how to repopulate the earth. He was told to throw the bones of his mother behind his shoulder.
Deucalion and Pyrrha understood the “mother” to be Gaia, the mother of all living things, and the “bones” to be rocks.
They threw the rocks behind their shoulders, which soon began to lose their hardness and change form.
Their mass grew greater, and the beginnings of human form emerged.
The parts that were soft and moist became skin, the veins of the rock became people’s veins, and the hardest parts of the rocks became bones.
The stones thrown by Pyrrha became women; those thrown by Deucalion became men.

1909 Carol Wyss Osmosis

Carol Wyss Osmosis

All the sons of Adam are part of
One single body,
They are of the same essence.
When time afflicts us with pain
In one part of that body
All the other parts feel it too.
If you fail to feel the pain of others
You do not deserve the name of man.
― Saadi Shirazi 1258

1909 Anne Krinsky Ephemera Scrolls 2

Anne Krinsky Ephemera Scrolls

“I am interested in the ephemeral nature of the physical world – in the transformation of terrains and in the erosion of stone, wood and metal over time. In developing imagery for the Ephemera scrolls, I wanted to create visual relationships across time and space. I photographed the Tower’s clock mechanism and gravestones from the surrounding garden and other London churchyards. During a recent residency at Oberpfalzer Kunstlerhaus in Schwandorf, Germany, I photographed the River Naab, as its water levels dropped during the hottest June on record. I feel impelled to document changes to wetlands and waterways in this time of accelerating climate change.” Anne Krinsky

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Anne Krinsky Ephemera Scrolls

Time Crystals video work installed alongside the tower’s ancient clock builds on an interest in the mystery of time viewed across human, cosmological and quantum scales.

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The clock by which we measure time on our watches and digital devices is very misleading;
it is determined by the daily rotation of the Earth around its axis and its annual rotation around the sun.
This astronomical time is linear and regular.
But the actual clock by which we live our socioeconomic lives is an emergent phenomenon determined by the collective forces of social interaction:
it is continually and systematically speeding up relative to objective astronomical time.
– Geoffrey West, 2017

The patterns employed within the film and spilling out from the projection as 3D triangles mirror the crystal structure of the mineral beryl, commonly used to fashion the original reading stones.

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The work also makes reference to the scientific theory of time crystals; a model which proposes a structure that repeats in time, as well as in space. Variations in perspective are manipulated through the speeding up, slowing down and overlapping of events to deconstruct a linear flow of time and interrogate the methods by which humans measure and experience this phenomenon.

It is within my mind then, that I measure time. I must not allow my mind to insist that time is something objective.
When I measure time, I am measuring something in the present of my mind. Either this is time, or I have no idea what time is.
― St. Augustine of Hippo, 397

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How can the past and future be, when the past no longer is, and the future is not yet?
As for the present, if it were always present and never moved on to become the past, it would not be time, but eternity.
― St. Augustine of Hippo, 397

Using Carlo Rovelli’s book The Order Of Time as a reference guide and the quotes of St. Augustine as points of enquiry the repeating layered films were made using time lapse and slow motion; recording the exchange of energy as objects collide, heat up, cool down, travel at speed, transform, reflect and absorb, display traces of past events and embark on supposedly predictable trajectories. How we experience time is relative to where we are in the universe, our proximity to a larger mass and how fast we are moving.

 

A crystal is like a class of children arranged for drill, but standing at ease,
so that while the class as a whole has regularity both in time and space, each individual child is a little fidgety.
– Dame Kathleen Lonsdale, 1948

The fabric of the ancient building also helped determine the work installed. The 3D element of my video installation needed to be built in situ. One challenge was projecting in portrait mode to neatly fit the wall space between window and clock mechanism. Projectors are not supposed to be set on their side but with an adapted ceiling mount allowing clear air vents for the fan it all worked out fine.

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Clamps, weights, stitching, balancing and non invasive means of installing had to be employed not to harm the Grade I listed heritage site.

1909 time crystals video installation detail

On location. After much searching a secret tower in the woods was found, knotted within dense undergrowth. Hidden in time and space.

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Artlyst review of Reading Stones. by Jude Cowan Montague.

A pleasure to be asked back to Guest Projects for a filmed interview about my experience during the residency Laboratory of Dark Matters for a promotional video to launch Yinka Shonibare’s new residency programme opening in Lagos.

 

I attended the UK High Altitude Society Conference 2019 to give an update on the project aiming to launch a cloud chamber in a high altitude balloon.

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Live Stream of conference presentations – my presentation at 3:30 in.

Very interesting talk from Michael Johnson on citizen space exploration & inflatable spacecraft, building on past developments of inflatable spacecraft from NASA new technology could see thousands of tiny spacecraft launched within days as opposed to decades.

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He also allowed us to hold the tiny spacecraft.

Finished working on video sculpture At a distance which has been installed at The Museum of Cornish Life, Helston for the Lizard Point Residency Touring Exhibition.

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This residency was inspired by an incredible communications double anniversary in 2019, for Lizard Lighthouse (400 years) and Goonhilly Earth Station (50 years: transmission of the first lunar landings), considering the importance of life-saving lighthouse beacons and internationally important transmissions across the sea and sky.

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Lizard Point, overlooking the Atlantic, benefits from natural darkness, natural beauty and is a great spot for viewing the Moon, stars and meteor showers.

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Staying on site, next door to the famous Lizard Lighthouse, artists had the opportunity to create works responding to the variety of astronomical sights found there, as well as be inspired by the rich communications heritage along this very special part of the SW coastal path.

Solitary figures using semaphore flags sign ‘We Are One’ out across the ocean; filmed on 29th March 2019 (the first date the UK was supposed to leave the EU).

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As in entanglement theory where two paired electrons mirror each other at a distance it is hoped the message will be echoed back. The work looks at methods of communication over distance. It relates this to the mysterious twinning of electrons in quantum entanglement where particles link in a way that they instantly affect each other, even over vast distances, and which Einstein famously called ‘spooky action at a distance’. The video is back projected onto a Fresnel lens, the type found in lighthouses to increase luminosity of the lamps beam, another form of messaging over distance.

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The video sequences through five sets of semaphore messages. Each message is echoed back within a swirling force field emanating from across the ocean repeating the pattern of the flag representing entanglement. This is interspersed with imagery from video captured of the Lizard Point Lighthouse Lamp slowly waking and powering up from dim to dazzling light, split and mirrored in a circle of sending and receiving messages.

 

The Museum of Cornish Life is surprisingly vast and crowded with innumerable artefacts at every scale. A fearsome cider press the size of a lorry included. The long passage through the museum to the exhibition rooms encounters an overwhelming volume of items jostling for attention.

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Here are the records of events from which we infer the past.

While in Cornwall there was time for a quick visit to Tate St. Ives. An unexpected treat to find Otobong Nkanga’s excellent exhibition From Where I Stand looking at the glittery desirability of minerals and the scars left on the landscape and people by it’s extraction.

What could a monument be? Is it the thing we build or the thing we have taken away from? A place of emptiness is the monument to remind us there is no possibility of getting back to what has been – Otobong Nkanga

The latest ACA Project Continuum  is launched and I am looking forward to contributing to the programme with some new work exploring the activity of cosmic rays at the edge of the earths atmosphere. I have had two productive meetings with the Imperial College Space Society and the project to launch a high altitude balloon with a cloud chamber in the payload is underway. The first tasks are to make contact with the Civil Aviation Authority ahead of requesting flight permissions and researching how to safely transport helium to the prospective launch site.

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The team have been issued with their own mini cloud chamber kit to test and use as a basis for designing the prototype for launch which must be able to function in low air pressure and turbulence.

There was a fantastic turnout to Culture Lab. Newcastle University for the first Continuum event in an inspiring season of art, science and speculative fiction taking place at Allenheads, Hexham and Newcastle. So happy to be involved in this new project.

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We heard from Minna Långström about her latest film The Other Side of Mars and her installation Photons from Mars which explore how we see Mars through the mediated eyes of technology.

1902 Continuum launch Minna Langstrom

Robert Good analysed what happens at the intersection of art and science, concluding that insight comes from multiple perspectives working together.

1902 Continuum Launch Robert Good

Pippa Goldschmidt read from her texts The Need for Better Regulation of Outer Space and Falling Sky highlighting the emotional and lived experience of the scientists who square up to the big questions in astronomy. She has fascinating first hand knowledge of the political sensitivities surrounding studying the stars when visiting observatories such as in the Chilean Atacama Desert when the nation is undergoing a military coup.

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Chris Welch professor of space engineering from The International Space University gave a lively account of Space Travel. Fact and Fiction; current technology, theoretical technology and science fiction technology. Sometimes it’s hard to tell one from the other.

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He also kindly allowed us to handle a mini rocket smuggled in from Strasbourg

1902 Continuum Launch mini rocket

The artist Nahum relayed a beautiful story of the moon landings from the moon’s perspective written by an 11 year old refugee girl and punctuated by real magic. This originated from his work giving refugee children a sense of belonging by imagining looking back at earth from space to see that we are all human on one tiny planet. In other work aiming to democratise space travel he hypnotised his audience in order to prompt false memories of visiting the moon into their minds.

1902 Continuum Launch Nahum assited by Minna Langstrom

John Bowers and Tim Shaw ended the evening with mesmeric visualisation and acoustics extrapolated from electromagnetic waves generated by meteors, minerals and mystical phenomenon.

1902 Continuum Launch John Bowers

It was a quick visit to Allenheads this time but Annie Carpenter, Nicola Ellis, Robert Good and myself can look forward to an upcoming week of research and stories around the fire as a prelude to making new work for the project.

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Delighted that my work Pentacoronae has been selected for the exhibition Insatiable Mind which is part of the Salisbury International Arts Festival 2019. The festival will highlight the anniversaries of the Fall of the Berlin Wall in 1989 and the Moon Landing of 1969. The exhibition seeks to convey the notion of leaving behind the comforts of the familiar in order to discover the unknown.

Pentacoronae encourages the viewer to seek darkness, stargaze, wonder and map their own stories across the sky.

1902 Pentacoronae photo John Hooper

Maybe I should take my cloud chamber with me to Salisbury just to make sure that clean up of radioactive material was as successful as they claim.

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More exciting news is that Carol Wyss, Anne Krinsky and myself have been awarded a two week takeover of Hackney’s oldest building, St. Augustine’s Tower.

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The tower is the last remains of the original church built in the late 13th century.

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Our proposal is for an exhibition of site-specific new works made in response to St. Augustine’s Tower and the historic role of spires as a symbolic connection between earth, mortals and the heavens.

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There are four floors connected by a narrow stone spiral staircase.

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It has an amazing clock dating from about 1580; the pendulum case is on the first floor, the clock on the second and the bell on the third floor.

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Drawing on our individual interests in geology (Anne Krinsky), anatomy (Carol Wyss) and cosmology (Susan Eyre) we will curate the exhibition with the intent of sparking a dialogue between works installed to convey a cohesive exploration of materiality, the passage of time and wider philosophical issues evoked by these relationships.

1902 St Augustines Tower graveyard

 

The New Materialisms Reading group I attend have been reading The Hidden Life of Trees by Peter Wohlleben. It is extraordinary to discover how trees communicate and consider the slow time at which they operate and the age and extent of the largest known living organism, the fungi web. I also have a whole new raft of guilt to contend with.

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I am also out collecting images of bare branches that resonate with the idea of particle decay.

1901 Cosmic ray decay

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In the studio painting ‘entanglement’ in disperse inks to heat press for the semaphore flags ready for the Lizard Point Residency. Semaphore = information at a distance, entanglement = spooky action at a distance (according to Einstein)

 

 

 

 

Out of the Studio….

Called at SPACE to see Anna Chrystal Stephens’ show Anorak. A derogatory term for an obsessive but maybe it’s a necessary trait if you are to survive in alternative social possibilities. Either that or develop superpowers.

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I joined Robert Good at the opening of Word Bank of Lost Dialects at The Word National Centre for the Written Word, South Tyneside. Word Bank of Lost Dialects created by Jane Glennie and Robert Good is a fascinating documentation of the thousands of North East dialect words donated by visitors to The Word’s original Lost Dialects exhibition.

Also opening at The Word was Cracked! Secret Codes and Communication, with a very useful semaphore flag chart – just what I needed for the work I am planning for the upcoming Lizard Point Residency. In 2019 the Lizard is celebrating the 400 year anniversary of Sir John Killigrew’s building of the first lighthouse on Lizard Point in 1619. The subsequent lighthouse also has important links to the search for reliable Longitude measurement, with an assistant to the astronomer royal visiting the lighthouse at the time of the first Transit of Venus to record an accurate location for the Lizard Rocks. The world famous Goonhilly also celebrates the 50 year anniversary of their transmission of the first lunar landings. We will also be visiting wireless and semaphore stations along the Lizard coastal path, considering the Scilly Isles 30 miles out to sea and the important prehistoric menhirs offering ‘beacons’ for travel & procession across the land.

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Anglo-Saxon Kingdoms at The British Library was full of ancient treasures from the Library’s own collection, including the Lindisfarne Gospels, Beowulf and Bede’s Ecclesiastical History, the Domesday Book and Codex Amiatinus, a giant Northumbrian Bible taken to Italy in 716, returning to England for the first time in 1300 years. A surprising number of books in flourishing scripts, illuminated, illustrated and bound in sculpted covers. However I found it very frustrating to be presented with so many undecipherable pages and envied those muttering in Latin or Old English who could gain some insight. More translations please. Possibly you had to buy the catalogue to learn more.

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Inspired by the legend of How Raven Stole the Sun and brought light to the world Joana Escoval’s  The Sun Lovers at Tenderpixel dazzled with an overload of fluorescent tubes.

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Especially blinding when visiting at the twilight hour. The story and further daydreams  were reduced to minimalist gestures in gold wire, feathers and blasted rock.

To celebrate Chinese New Year of the pig the mass underground car park takeover Four legs good, two legs bad (a quote from George Orwell’s prescient 1945 book Animal Farm)was heavily porcine in theme with a weirdly anarchic yet delineated curation. Pick of the show was Carol Wyss and Anne Leigniel.

Some interesting work in Critical Matter at the reduced RCA Dyson Gallery from Rosanna Dean, Victoria Mihatovic, Susie Olczak and Samuel Padfield. Looking at the very current theme of entanglement of materials in the web of life in reference to the philosophy of  Henri Bergson who wrote Matter and Memory in 1896 which argued against memory as a purely physical embodiment.

Flux Social presenters this month were Adam John Williams // a.k.a Chemical Adam, Adeline Rozario from Tinderdust, and Sofi Lee-Henson. Another interesting evening and good to talk to Adam about his use of the cloud chamber to translate the randomness of radioactive decay into music.

I joined Walking as Material led by Lily German who took us through the city down to the shores of the Thames and up onto the walkways and bridges, stopping to look at the fabric of London and consider its past and the changing materials that make up its surfaces. Also the amount of sewage that must be dealt with.

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We ended the walk at Matter(ing), an exhibition investigating ides of materiality and the outcome of enabling materials to drive the creation of work at Platform Southwark from artists Abigail Brothers, Lily German and Sebastian Sochan.

Enjoyed the connections made by Zach Blas in his performance lecture Metric Mysticism at Edel Assanti. Tracing the use of the crystal ball from John Dee via Derek Jarman, David Bowie’s Labyrinth, Lord of the Rings, Saudi Arabia’s Global Center for Combating Extremist Ideology to Palantir Technologies, a private American software company that specializes in big data analytics. Prophecies of a society controlled by the media and the police appear fulfilled.

1902 Zach Blas metric mystics

Treated to a personal private view of Draft at The Hospital Club by Mary Yacoob. Strong work held it’s own amongst the plush velvet sofas and hand embellished wallpaper.

1902 Mary Yacoob

 

I have been gathering tips and components to build a cloud chamber for viewing cosmic particles but mostly my time has been spent in funding application form filling.

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Feeling the admin has been taking over. Not a creative time and am also finding the ground is not so firm beneath our feet when it comes to securing the promise of a grant.

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Challenges ahead but Laboratory of Dark Matters is taking shape and we are listed on Guest Projects website link here.

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I have moved studio once again, only a very short distance but into my own space. This is so I can film the cosmic particles I hope to see in the cloud chamber in low lighting and mess about with dry ice. I am starting to plan work using imagery of the cosmic trails. Looking at pentagon facets of the dodecahedron.

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Made a trip to Allenheads Contemporary Arts for the final weekend of events of their major project As Above So Below that saw artists come together to explore a shared curiosity and quest to answer questions about our existence and relationship to our planet. Iron River was a beautiful live sound performance synched to a video installation from Bennett Hog and Sabine Vogel using an exposed piano frame, pebbles and bass flute to describe the extraction process of iron ore abundant in the local water.

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Eerie sounds, almost words, deep and earthy boomed from the woods and echoed around the valley in Neal Willis’ coded interpretation of barbed wire patterns What Language of the Fox? I thought Bill Aitchison’s Stuck In The Middle With You was brilliant. The recording of his performance was positioned in the spot where the original delivery took place during the summer – the view on the screen and out through the window was the same, just browner outside now.

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Listening to Bill make connections, set up a scenario only to knock it down became mesmerizing and addictive, I was swept away.  Listen to this work at the link above.

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Lucien Anderson’s Prototype 2, or Splashdown floats in enigmatic isolation on the Allenheads reservoir.

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There is video relay to an observatory tent but it looks like contact may be lost…

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Thresholds (Proximity, Distance and Loss) a poignant video installation from Jo Hodges and Robbie Coleman was running in the coal shed featuring sound from Lost Cosmonaut a recording from 1962 purporting to be broadcast from a damaged, State abandoned, Russian spacecraft overlaid onto imagery from a remote and subsequently abandoned Northumbrian village.

Pat Naldi’s research unearthed song lyrics written in criticism of the local mine owner during the early 19thC which the local Dale Singers performed on the green for Assembly 2016

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Alan Smith From NVC 100 to 10 Thoughts both reduces and expands inquiry as he condenses big questions into a series of 10 thoughts. Set in the cosy cosmos of his caravan it is a personal exploration of the very wide world we are invited to share in.

Bridget Kennedy installed The Measure Of It over the opening to Gin Hill Mine Shaft referencing the opening of seams for mining in medieval times when a prescribed square measure was termed an Ancient Meer and an oath was taken to claim ownership.

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“I swear by God and all the saints, and I call them all to witness, this is my vein; moreover if it’s not mine, I neither this my head or these my hands henceforth perform their functions” from De Re Metallica by Georgius Agricola.

Also made a visit to Yorkshire Sculpture Park

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The current headline show was from Not Vital – big shiny heavyweight sculpture, inside & outside. A lot of metal.

Was a nice surprise to discover Roger Hiorns Seizure has found a home here. Just as dazzling inside but a shame its place of genesis, the totally incongruous London estate setting is lost.

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Excited to experience James Turrell’s Deer Shelter Skyspace.

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The elements have left their mark on the floor.

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Incredible how the light changes the space, and framing the sky in this way makes it so luminous and almost tangible at the same time.

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When gazing up through the aperture of a ‘Skyspace’  it’s important to give your eyes time to adjust to gain the full reward. The contemplative state, like fire watching, that Turrell induces in his audience is common to all people through all time. He is fascinated by early cultures in which the position of the sun, moon and stars are responded to through environment. He appreciates light has a strong connection to our spiritual beliefs. Light is the materialization of energy. We are naturally eaters of light, our whole body is scattered with stray rods and cones outside of the retinal area which makes our relationship to light very primal. Our bodies are made from matter fed by the fruits of photosynthesis. Light is life. In using the stuff of nature as medium a direct connection is made between our body and the universe.

Caspar Sawyer’s exhibition Gamut at Thames-side Studios Gallery was another way of considering how our brains decipher the light messages that are fed to them, this show was about the pixilation of our world.

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Most striking are the giant heads of the 3 Kims triptych, leering in and out of focus as the angle and distance of perspective varies as you move around the gallery. The camera however, reverts the image back to tiny pixels and into focus. They are really not that clear to the naked eye when you are in the gallery.

The media construction of the larger than life characters made evident in oversized pixels.

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The sublime dissolving into sub-pixel RGB grids as we move too close.

Vibrant colour blocks as pixelated studies of constructed titles – internet searches for an image that best represents one word,

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reduced to pixels and blended with other word searches until the image represents the title – the source images never known even to the artist.

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And my favourite – This Moment is the Most Profound Experience You Will Ever Have in Your Whole Life (in progress)

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The image is revealed as a moving reflection of your body as you traverse the space, a shadow that casts light. Quite profound really. I am light.

Total takeover -Alex Hartley’s ‘architectural intervention’ A Gentle Collapsing II at Victoria Miro is wonderfully indulgent romanticism

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Stepping though the gallery doors to the garden becomes stepping though a portal to another time and place.

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The edges of reality blur as it isn’t clear where fantasy begins and ends. It is a place to enact and dream and enjoy its unreal realness.

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Other works inside are just as bewitching; paintings like translucent marble slabs  with hidden inner lives.

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Frosty surfaces shielding mysterious landscapes. Concrete pretending to be wood.

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I am always impressed by Alex Hartley.

Holly Graham showing After Harry Jacobs: The Studio and hypnotic looped animation After Harry Jacobs: Basket in Backdrop at ASC Studios as part of Artlicks weekend. ‘the works in the exhibition engage the backdrop as a context for action and seek to question the perception of its neutral or auxiliary role.’

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Scarlett Mueller creates her stunning hand printed woodcuts through layering techniques. At Anise Gallery for I Saw it Whole her work had been deconstructed and reimagined in a VR experience allowing the viewer to digitally enter the image. It was fun but unnecessary, her work has space for the viewer to enter without digital enhancement.

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There is something extra green about the green that is exposed on the river banks at low tide.  These glistening and gelatinous edges are captured by Anne Krinsky  in Tide Line Thames along with distressed defences like scabs barely holding together the banks of the old river. (old not ancient).

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Mysterious architecture, cogs, slippery steps, lengths and measures map out a life that dissects London, is passed over again and again without thinking. This exhibition is a pause in that momentum to look at the environment in the raw.

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Adding layers. Infinite Mix an off-site iteration from the Hayward Gallery. Sound and moving image. Some very raw and powerful images drilled into the mind with earworm rhythms and stanzas. Excellent stuff.

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Cyprien Gaillard Nightlife