How Day For Night festival achieved curatorial excellence
Houston, Texas’ Day For Night festival has established itself as an unconventional, hyper-sensory utopia. Bolstering an exemplary menu of avant-garde talent, the festival satiates thousands all while blurring the boundaries of performance and offering the utmost in aural phenomena in its industrial warehouse setting.
Day For Night prided itself on its snapshot booking in its third year, by and for the experimentally-inclined. Enlisting artists like Nina Kraviz, Kaytranada, Justice, Jlin, Jamie xx, Mount Kimbie, Solange, REZZ, Nine Inch Nails, Tyler, the Creator, and Thom Yorke, among others, the gathering has situated itself as an unorthodox standout from an at times mundane, and largely counterfeit American festival circuit.
Words by Grace Fleisher Featured image courtesy of Theo Civitello
In its immersively emblematic nature, Day For Night’s third edition was a polyamorous union of music, culture, and digital art. It was a multifarious destination, and offered its attendees a mode of escapism while simultaneously defying how they explored their own, as well as others’ relationships with art and reality.
Those who attended were immersed in an epicenter of capitalism’s desolation, i.e the former Barbara Jordan Post Office, only to enter a sprawling industrial wonderland; complete with capacious lasers, fog machines, and immersive visual art open to infinite interpretations. Despite its growing pains, Day For Night was an unparalleled destination in the American festival circuit, protruding the landscape with its singularity in 2017, as it likely will in years to come, too.
Photo Credit: Katrina Barber
Embracement of Reflection: Houston & Beyond
It would be naive to ignore how Houston’s rampantly evolving cultural and developmental environment shaped Day For Night. A look at almost any sect of the city points to hyper-gentrification and a lack of zoning restrictions that are rendering a city of cultural ...
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