Shanay Jhaveri’s latest book, Night Fever: Film and Photography After Dark, focuses on the nighttime hours and their multiple associations. For the book, Jhaveri – the new Head of Visual Arts at the Barbican Centre in London – has compiled essays, film stills, and photography portfolios by artists including David Goldblatt, Paz Errázuriz, Sohrab Hura, Ming Smith, and Tobias Zielony into an evocative homage to the night.

Below, Jhaveri discusses a work from the book: Ming Smith’s electric 1978 photograph of the performer Grace Jones at Studio 54 in New York:

‘Night Fever focuses on multiple embodied experiences of the night, and how nighttime can have different frequencies and tenors for different people. When assembling the book, I looked to artists, filmmakers, and photographers who had found themselves drawn to working at night – or, as I call them in my introduction, nightwalkers.

Ming Smith’s iconic photograph of Grace Jones at Studio 54 captures not only a glamorous person, but also a mood, a sensation. It’s an emphatic and strong image of unabashed confidence and beauty.

在這位德國藝術家於紐約貝浩登（Perrotin）舉辦的首次個展「When the Sun Hits the Moon」中，有幾幅畫作是初次亮相，主題為安東尼奧．卡諾瓦（Antonio Canova）的新古典主義雕塑中描繪的愛神厄洛斯與普姬幾乎接吻的場景。愛神不允許他的世間愛人看到他在光明中的樣子；當普姬拿著蠟燭對著愛神面龐的那一刻，這對戀人就永久地斷開了聯繫。Greven說：「我喜歡這個意象，因為我捕捉到的那一刻，他們還在互相對視，但未真正看見對方的面貌。他們仍處於黑暗之中，以內心注視和以內在擁抱。」