Tony Cokes’s SM BNGRZ 4–6 extends his examination of club culture as a form of social infrastructure, treating the dance floor not simply as a site of entertainment but as a space for collective expression, solidarity and political possibility. The three-channel video combines brightly shifting fields of colour, text and an expansive soundtrack. When language disappears from the screens, colour pulses and flashes in response to the music, transforming the installation into something between a lecture, memorial and dance floor.

Across the screens, testimony, interviews, theoretical writing and cultural commentary accumulate in fragments. Voices and ideas drawn from writers including Madison Moore, McKenzie Wark and Simon Reynolds consider the histories and politics embedded within nightlife, while questions of race, queerness, trans inclusion and marginalised identities foreground the communities for whom these spaces have offered forms of recognition and belonging.

The soundtrack moves across decades and genres, from early funk and disco to Detroit house, techno and contemporary club remixes of pop icons such as Beyonce and Madonna. From The Petshop Boys to Patrick Crowley, different musical histories are placed into dialogue, where music becomes both cultural memory and a means of imagining alternative social relations. In particular, Detroit’s electronic music emerges as a technology of world-building; a way of transmitting information, creating community and transforming conditions of exclusion.

Through its rhythmic structure and layered voices, SM BNGRZ 4–6 proposes the club as a place where liberation is not simply experienced but collectively produced. The club as a space in which difference can become solidarity and dancing becomes a form of social and political possibility.