Drawing on the formula employed by popular, immersive cinema-cum-theater experiences like Sleep No More, visitors to “Infinite Mix” rove freely around the building in order to find each work. Martin Creed’s Work No. 1701 (2013)—a short film shot from a single camera position, showing a succession of people crossing the same street in New York—is positioned near the entrance to the exhibition. Creed has commented that life can often look like a dance, and akin to much of his other video work, a pop song written and performed by the artist accompanies it. It illustrates the beauty in the infinite variety of motions with which people move through the world.
A similar notion of limitlessness carries through ’s Luanda-Kinshasa
(2013). Mimicking the documentary format, Douglas presents an epic, six-hour-long fictional jazz-funk band recording within a set carefully crafted to resemble a 1970s recording studio. The camera and the audio mix work in tandem, each time highlighting the sound of the musician the frame focuses on.