Neither Day Nor Night

In the darkened space of “Neither Day Nor Night” (2013) is a wide chess patterned wooden stage, and a reflective pleated curtain located at it’s far end. Low-toned music, synchronized with changing lights, emanates from the loudspeakers set into the stage. The music playing is a contemporary adaptation of an 1888 Erik Satie’s Gymnopédie #1 (1882). Originally composed for piano, this adaptation is for tuba, the lowest-pitched brass instrument; The result is simultaneously harmonious and disharmonious, transforming the familiar into the unusual and creating a sense of expansion into a fantastic dimension.
 
The introduction of the element of time and duration into the space momentarily transforms it into an abandoned basement, a spectacular banquet hall, and a senseless exhibition space featuring an architectural model reminiscent of the Parthenon. The title of the work, Neither Day nor Night, refers to a state of negation – an intermediate, ephemeral state that defies definition, a space that produces suspension, expectation, and unfulfilled longing. The title also charges the work with a mystical dimension. The origin of the expression "Neither day nor night" is familiar through the liturgical poem "Then, in the Middle of the Night," at the end of the Passover Haggadah. The poem describes a day when light will shine in the middle of the night. This description refers to the End of Days, when there will no longer be days or nights, when time will exceed its own limits. An entirely different cosmic state. A state of redemption -Hadas Maor