Venice’s Teatro Goldoni was packed to the rafters last weekend, with the great and the good of the art world clambering in to see the world premiere of the British artist Cerith Wyn Evans' and experimental sound wizard Florian Hecker abstract opera.
With only three days worth of performances, the enigmatically titled 'No night, no day' kicked of this year’s Venice Biennale in true controversial form.
Watch a short extract of the controversial abstract opera
In a move away from the light sculptures for which we know him best, Wyn Evans produced all the visuals for the 40 minute opera (projected onto a screen spanning the stage of the Goldoni), whilst Hecker, with his synthetic musical pedigree was responsible for all audio elements.
Loosely described as an opera with strong sexual undertones it in fact defies description. Which is why we asked Wallpaper* correspondent and art college comrade of the Wyn Evans, Chris Sullivan to get the bottom of it.
Click here to read his conversation during a lunchtime meeting with Wyn Evans, as well as Francesca Von Habsburg, founder of the contemporary art foundation T-BA21 and Glen Matlock, the original and current bass player of the Sex Pistols