And then there was the night by Wysocka / Pogo

In a time oversaturated with high-resolution clarity, algorithmic recommendations, and endless visual consumption, And then there was the night enacts a deliberate reversal—a movement into the shadow, into grain, into ambiguity. The work of Wysocka Magdalena & Claudio Pogo becomes a kind of visual incantation, summoning ghosts not to reveal truth, but to question the very desire for it.

Their use of decayed, rephotographed zine material—originally culled from a nearly lost 1920s pornographic film—invokes an aesthetic of rupture. Rather than restoring the past, they mythologize it. The so-called Vampire from Dachauer Moor is not a character to be known, but to be felt—an unstable figure conjured from scraps, flickering at the edge of memory and imagination.

Here, myth is resistance: to surveillance culture, to historical sanitization, to the endless demand for legibility. In embracing the fragmented, the erotic, the obscure, the artists reclaim a visual space for slowness, for suspicion, for doubt. Where contemporary media insists on immediacy and exposure, this work luxuriates in concealment.

Darkness is not absence here, but potential—the site where new, untamable narratives form. The night becomes a kind of radical archive: not to preserve, but to transform; not to show, but to suggest. The vampire, then, is less a monster than a medium—feeding not on blood, but on the forgotten textures of discarded imagery.

Interview with Tom Page from Open door website