Subductive Resonance by Sl_OWTALK

Time: 5PM - 6PM

Venue: SAM at Tanjong Pagar Distripark, Borderless (The Spine)

Subductive Resonance draws from the image of tectonic plates grinding beneath one another—a metaphor for how Sl_OWTALK approaches collaboration and public space: nothing smooth, nothing resolved.

Rooted in structured improvisation, the performance will be grounded by analogue synths, samplers and beats, where Sl_OWTALK will create layered rhythmic patterns that distort and evolve in real time. Instead of sonic clarity or cohesion, Subductive Resonance embraces a breakdown while it bends under pressure and glitches under duress. In its refusal and instability, the performance exists in the overlaps between sonic control and collapse, where machines and bodies respond to noise, mess and unpredictability.

Artist Bio
Sl_OWTALK (Singapore) is a drum and synthesiser duo. Since their formation in 2019, Mohd Rahmat Bin Suliman (Mamat) and Muhammad Isyraf Bin Sabtu (Isyraf) have developed a sound that merges distorted electronics, improvisational drumming and rhythmically complex structures. Influenced by noise, art rock and experimental electronic music, Sl_OWTALK creates immersive, physical and sonically intense performances deeply rooted in the energy and the unpredictability of improvisation. In doing so, they challenge traditional boundaries of sound, structure and engagement.

Image Credit: Courtesy of the artist

Mong Tong

Time: 6PM - 7PM

Venue: SAM at Tanjong Pagar Distripark, Borderless (The Spine)

Born from the reimagination of Taiwanese folk songs, Mong Tong’s performance is built around their album, Sun Moon Darkness 明日音. With futuristic textures of electronic synthesisers, their music evokes textures and structures of both the ancient and avant-garde. Pointing towards the future, their sound expands the very possibilities of what folk music can be.

Artist Bio
Mong Tong (Taipei) is a psychedelic music band formed by brothers Hom Yu and Jiun Chi. “Mong Tong” is derived from the brothers’ childhood nickname, which takes on different meanings in Burmese, Cantonese and even Mandarin Chinese. Heavily influenced by East and Southeast Asian mythology and folklore, their music finds resonance with 1960s and 1970s psychedelic music, characterised by hypnotic rhythms, dreamy melodies and otherworldly atmospheres.

Image Credit: Photo by Etang Chen. Courtesy of the artist.

TEMPORAL RECONGIFURATIONS by Seething Mass

Time: 7PM - 8PM

Venue: SAM at Tanjong Pagar Distripark, Borderless (The Spine)

TEMPORAL RECONGIFURATIONS responds to the interplay between structure, instability and collective exchange. Through contact microphones, synth modules, feedback systems and live triggering, Seething Mass works with a range of pre-constructed materials—compositions drawn from sampling, synthesis and recorded sound—to activate, layer and transform in real time. Just as the tracks evolve through live improvisation in response to one another, pre-recorded visuals drawn from archival experimental films will be spliced and recontextualised as interruptions or fleeting residues, echoing the process of continuous reconstruction and reconfiguration. In this process of renewal, collaboration becomes both a methodology and a medium.

Artist Bio
Working together as Seething Mass (Manila), Nonplus and Caliph8’s collaborative practice extends into sonic and audiovisual exploration grounded in hybridity, convergence and live improvisation. Built around real-time sound manipulation and signal processing, their free-form performances explore the interplay between analogue and digital sources, where electronic instruments, prepared objects and recorded materials are reconfigured and recontextualised through live improvisation.

The duo’s process foregrounds both instinct and control, navigating the dialectics of tension, summation and resolution to create immersive sonic environments where structure and chaos coalesce within a continuously shifting landscape.

Image Credit: Courtesy of the artist

母渊 Mother Abyss by TZECHAR

Time: 8PM - 9PM

Venue: SAM at Tanjong Pagar Distripark, Borderless (The Spine)

母渊 Mother Abyss is an audiovisual performance about the comforting embrace of existential nihilism. It begins with the idea that the void is not destruction but care—a vast intelligence that holds birth and decay in the same breath.

TZECHAR reflects on the absurd rituals we create to make meaning of the world—from religion, finance to technology and art—inherent nothingness of existence. Here, 母渊 Mother Abyss proposes a reframing: the void becomes a mother. Not human but a system, an ecology, a machine that loves by consuming. What does it mean to bring something into being and to remain answerable for it?

Artist Bio
TZECHAR (Singapore / Melbourne) is an experimental art group that works across music, film, performance and digital media to create immersive audio-visual performances and conceptual art projects. Their practice investigates how individuals, cultures and systems attempt to co-exist through fundamentally absurd human constructs—from religion and finance to technology and myth. Reflecting on the tension between structure and chaos, tradition and rupture, ritual and recursion, they combine methodical composition with volatile noise and hyper-mediated imagery, invoking both the sacred and satirical. At the core of their practice, TZECHAR’s performances question how meaning, identity and coherence persist within systems designed to collapse.

Image Credit: Courtesy of the artist

The Filipino Superwoman Band

Time: 9PM - 10.20PM

Venue: SAM at Tanjong Pagar Distripark, Borderless (The Spine)

The Filipino Superwoman Band is built around the R&B classic “Superwoman” (1989), popular in the Philippines, and its Filipino adaptation “Hindi Ako si Darna” (I Am Not Superwoman, 1998). Both songs speak to the challenges encountered by women in care work and the global service industry.

Alongside The Filipino Superwoman X H.O.M.E. Karaoke Living Room, the live performance integrates traditional Filipino oral histories and folk rituals with contemporary pop culture and soul ballads to convey themes of feminine empowerment, colonial influence and the socioeconomic conditions affecting Filipino overseas workers. Through dance, song and projection, Jocson and her team offer an insightful examination of the biopolitics of labouring bodies, while celebrating the resilience of Filipino Superwomen in the globalised context.

Artist Bio
Eisa Jocson (La Union) is a contemporary choreographer, dancer, and visual artist dedicated to exploring the affective and aesthetic labour of Filipino migrant workers.

In their live band format as The Filipino Superwoman Band, with sound design by Teresa Barrozo (Quezon City) and video projections by Franchesca Casauay (Quezon City), performers Eisa Jocson, Bunny Cadag (Batangas), and Cathrine Go (Madaluyong City) investigate the phenomenon of “Overseas Filipino Musicians (OFM)” —cover bands that meet the global demand for Western music in hotels, clubs, and amusement parks.

Image Credit: Courtesy of the artist

Authorised Silence: Okabe’s File by Koichiro Osaka

Time: 2.30PM - 3.15PM

Venue: SAM at Tanjong Pagar Distripark, Zora Harbour (The Engine Room/SIP at SAM)

Authorised Silence: Okabe’s File (working title) is a lecture-performance centred on the political uses of silence and anchored in the biography of cultural administrator Nagakage Okabe (1898–1970).

Koichiro Osaka will chart how exhibitions in the 1950s are approached as ritualised sites of neo-traditionalist and ethno-symbolic display, mapping how calligraphic and ink-based aesthetics had circulated and were instrumentalised under Cold War tensions. Drawing on archival sources and visual records of period painting, the piece foregrounds vernacular affinities within regional modernism, sketching an archival dramaturgy in which procedure choreographs recall yet deliberately preserve intervals of silence.

Artist Bio
Koichiro Osaka (Singapore / Tokyo) is a curator, writer and art history researcher. His practice considers contemporary art as a discursive platform, which fosters critical thinking by generating interdisciplinary questions.

Koichiro Osaka is also the founding director of ASAKUSA, an independent art space in Tokyo established in 2015. ASAKUSA aims to co-curate exhibitions with thinkers from diverse academic and cultural fields, and to focus on programmes which combine community-based initiatives with sociopolitical inquiry.

Image Credit: Courtesy of the artist

Infinite Corridor by The Analog Girl

Time: 4.30PM - 5.30PM

Venue: SAM at Tanjong Pagar Distripark, Zora Harbour (The Engine Room/SIP at SAM)

With instruments such as the Tenori-On, Monome and Percussa AudioCubes, Infinite Corridor blends electronic sound with organic vocals. Drawing from notions of freedom and fearlessness, The Analog Girl responds to the textures and intricacies of the space. Embracing the spirit of experimentation, these songs dissolve sonic and linguistic boundaries, creating an ethereal experience.

Artist Bio
The Analog Girl (Singapore) is an electronic musician, creating and performing using a myriad of instruments such as the Tenori-On, Monome and Percussa AudioCubes. What started as a lo-fi bedroom project using portable synthesizers and cassette tape recorders has since evolved into a dreamlike technicolour pop universe.

Image Credit: Photo by Kristy Campbell. Courtesy of the artist.

Celestial Invocation: Live by Mervin Wong

Time: 6PM - 7PM

Venue: SAM at Tanjong Pagar Distripark, Borderless (The Spine)

Building on Mervin Wong’s wf002: Celestial Invocation, this visceral long-form performance, Celestial Invocation: Live, dissolves the border between sound and feeling. An immersive live audiovisual ritual, it transforms listening into a physical experience. Through layers of spatial sound, live electronics and glowing visual textures, Wong bends the perception of time as the performance resonates between quiet fragility and earth-shattering intensity. An act of surrender, it invites you to feel time unfold as resonance, presence and light.

Artist Bio
Mervin Wong (Singapore) is a sound artist, performer, violinist, composer and electronic producer. Emerging from Southeast Asia’s ever-evolving sonic landscape, his practice traverses the space between deep subconscious ritual and spatial sound performance. Rooted in long-form attention and a reverence for subconscious attunement, Mervin Wong’s compositions unfold as immersive listening fields—zones of resonance where silence is sculpted, as time spins sound into mythology and presence becomes pulse.

Image Credit: Photo by Aloysius Lim. Courtesy of the artist.

weish

Time: 5.30PM - 6.30PM

Venue: SAM at Tanjong Pagar Distripark, Zora Harbour (The Engine Room/SIP at SAM)

For the first time, weish will present a performance-lecture featuring new music inspired by Hakka shan’ge (山歌, mountain songs). Interwoven with insights into her research on Hakka culture, weish will reflect on her simultaneous connection to, and distance from, her own Chinese diasporic identity and cultural heritage.

Artist Bio
weish (Singapore) is a multidisciplinary artist whose practice spans composition, performance and playwriting. She forms part of the electronic duo .gif, prog/math band sub:shaman, audiovisual collective Syndicate, experimental ensemble RATA Orkestra, and is an associate artist at Checkpoint Theatre.

Her recent artistic research draws from her Hakka heritage, engaging with the dying tradition of folk songs as she (re)connects with, embodies and contemporises her musical lineage.

Image Credit: Photo by Marc Gabriel Loh. Courtesy of the artist.

Narikama by Umeda Tetsuya

Time: 6.30PM - 7.30PM

Venue: SAM at Tanjong Pagar Distripark, Drifting Corner (Level 3, Outside SAM Corporate Office)

Narikama is a sound-sculpture performance inspired by the ancient Japanese ritual, Kamanari-shinji. This ritual, with a history of over a thousand years, centres on the divine interpretation of rumbling sounds produced when fire and water meet, considered as “signs of a boundary.”

Umeda Tetsuya has reinterpreted this ritual as a pure physical phenomenon, translating its underlying ideas into contemporary context and activating it as a performance. He uses everyday objects and common materials which resonate with the surrounding environment to create complex acoustic effects and a unique soundscape in which no two listeners experience the same sound.

Artist Bio
Umeda Tetsuya (Osaka) produces site-specific installations inspired by and incorporate existing elements found in the environment, as well as circumstances surrounding the exhibition space including its architectural structure. Beyond the structures of space and environment, he draws from the histories embedded within them, using everyday objects and objects found on-site to compose immersive installations and performance activations.

Image Credit: Photo by Peter Neusser. Courtesy of the artist.

borderless improvisation by Stylish Nonsense

Time: 5PM - 6PM

Venue: SAM at Tanjong Pagar Distripark, Borderless (The Spine)

borderless improvisation is a performance by Stylish Nonsense where sound resists definition and flows beyond musical, cultural and temporal limits.

Artist Bio
Stylish Nonsense (Bangkok) is an electronic music producer duo renowned for pushing the boundaries of the genre since the 1990s. They improvise new songs at every performance, making each experience unique. With influences ranging from ambient to techno, the duo is known for their dedication to experimentation and creative exploration as they craft atmospheric soundscapes, intricate rhythms and layered melodies.

Image Credit: Courtesy of the artist

Penumbra_prototype by Chia-Chun Xu and Luca Bonaccorsi

Time: 8PM - 9PM

Venue: SAM at Tanjong Pagar Distripark, Borderless (The Spine)

Penumbra_prototype is an audio-visual performance by Chia-Chun Xu and Luca Bonaccorsi investigating the dialogue between analogue and digital realms. Xu utilises an unstable no-input feedback system that responds to its acoustic environment, existing in a state of ongoing transformation between coherence and entropy. These analogue sound frequencies are fed into Bonaccorsi’s computer. Using real-time sound analysis, their spectral components are manipulated to generate abstract, audio-reactive visualisations. The resulting abstract landscape—mutating in shape, colour and motion—acts as a constant counterpart to the sound. Sound and image co-exist as indivisible elements, creating a contained, multi-sensory experience that mediates between the human and digital.

Artist Bio
Chia-Chun Xu (Taipei) is an experimental musician, organiser and independent label manager now based in Sintra, Portugal. Grounded by his use of the No-input Mixing Board, he explores the boundaries of feedback, noise and improvisation while fostering communities around experimental sound. He founded Karma Detonation Tapes, a label connecting Taiwanese and international underground artists, and initiated Outer Pulsation, a guerrilla noise performance series that reclaimed public spaces.

Luca Bonaccorsi (Metropolitan City of Venice) is a sound and video artist. Working with video art, audio-reactive visuals and installation, he often integrates algorithmic and procedural sound processes with real-time generated visuals. Throughout his practice, his work explores human relationships amid technology and new media, and their impact on daily life.

Image Credit: Courtesy of the artist

The Embargo of Silence by Cheryl Ong + Louis Quek + DuckUnit + Yuen Chee Wai

Time: 7.30PM - 9.30PM

Venue: SAM at Tanjong Pagar Distripark, Zora Harbour (The Engine Room/SIP at SAM)

The Embargo of Silence is conceived and curated by Yuen Chee Wai. It consists of a concert performance that responds to the use of the silent-disco sound technology, where both performers and audiences listen to the work only through headphones. Three musicians Cheryl Ong, Louis Quek and Yuen Chee Wai perform live, transitioning between improvised electronic music and DJ sets while siloed within luminous scaffolds designed by DuckUnit.

Here, silence is not presented as a void or absence but a condition that changes how listening operates. It introduces a deliberately introspective mode of listening—one where sound does not assert itself into space but waits to be encountered. Rather than resonating publicly in space, the music trespasses directly into the listener’s body, while the choreography is both possessional and processional.

Artist Bio
Yuen Chee Wai (Singapore) is a musician, artist, designer, and curator. Often inspired by ideas drawn from philosophical and literary texts, as well as perspectives glimpsed through the filmic eye and photographic lens, his stylistic oeuvre in improvised music is marked by internalised reflections on memory and loss, invisibility and indeterminacy.

Louis Quek (Singapore) is a sound artist who investigates the interplay between sound, space, and perception. Informed by a phenomenological approach, he examines the ephemeral and transformative nature of sound as a bridge between the senses through immersive sonic experiences which unfolds as a singular, contemplative auditory entity.

Cheryl Ong (Singapore) is a Singaporean percussionist whose work spans the realms of contemporary music, improvisation and sound. Her practice delves into the improvisational and experimental, seeking to uncover new textures and ideas.

DuckUnit (Bangkok) conceptualises immersive spaces and experiences using design. Founded in 2005, their work emanates a sense of experimentation, finding possibilities in relationships among media, from animation to lighting and space. Across stage design for concerts, plays and performances, much of their practice involves incorporating mechanical systems to turn them into installative objects. Duck Unit is currently led by Rueangrith Suntisuk and Pornpan Arayaveerasid.

Image Credit: Courtesy of the artist

dj sniff

Time: 7PM - 8PM

Venue: SAM at Tanjong Pagar Distripark, Borderless (The Spine)

At the core of dj sniff’s methodology is Cut ’n’ Play, a software sampler he originally built in Max/MSP in 2007. Since then, he has continued developing custom tools and instruments that extend the fundamental characteristics of the turntable and DJ mixer. The tactile relationship between the musician and instrument, which guitarist Derek Bailey once described as the “instrumental impulse”, becomes the primary source of sniff’s improvisational performance.

Artist Bio
dj sniff (Takuro Mizuta Lippit; Tokyo) is a musician and curator, working with experimental electronic arts and improvised music. His practice as a musician builds upon a distinct practice that combines DJing, instrument design and free improvisation. Through developing custom tools and instruments for his performances, he extends the “instrumental impulse”—a term coined by Derek Bailey about the tactile, responsive relationship between musician and machine which becomes the central inspiration for improvisation.

Image Credit: Photo by Hsuan Lang Lin. Courtesy of the artist.

Death of Chaos—21st Century by Social Dis Dance

Time: 9PM - 10PM

Venue: SAM at Tanjong Pagar Distripark, Borderless (The Spine)

Death of Chaos—21st Century is a ritual born in the twilight of the digital deep—opening the flesh of civilisation, summoning the splinters of what comes after.

Drawing from industrial sound and contemporary rave energy with a Taiwanese futurist aesthetic, the performance is at once a party, a ritual and an act of resistance. As Betty Apple stands as a shamanic figure guided into an ecstatic trance, Death of Chaos—21st Century leads the audience into a post-sci-fi realm where chaos dissolves and the body breaks open like a prophecy while the distortion and fluidity of time and space through waves of sound is felt.

Artist Bio
Social Dis Dance (Taipei) is a cross-disciplinary experimental sound collective formed in the first year of the COVID-19 pandemic. Taking its name from the pandemic-era term “social distance,” the group reimagines isolation and connection in the post-pandemic world through sound, body and technology. Combining avant-garde performance artist Betty Apple’s commanding presence in performance, new media designer Viktor Lin’s multi-sensorial compositions, and spatial designer Hoser Huang’s tactile installations, they collectively treat sound as a form of liberation—a resonant echo against power structures and the uncertainties of the contemporary future.

Image Credit: Photo by TheCube Forum Music Festival-Sonic Shaman. Courtesy of the artist.

Gangnam Style is High Art; or, How to Perceive Media by TZECHAR

Time: 3.15PM - 4PM

Venue: SAM at Tanjong Pagar Distripark, Zora Harbour (The Engine Room/SIP at SAM)

Gangnam Style is High Art; or, How to Perceive Media is a lecture which explores how all media—from viral pop to reality TV—reflects the society that produces it. TZECHAR argues that no cultural product is meaningless; each exists because social, economic and technological forces demand it, and audience reactions continually shape what comes next in a cultural feedback loop. By examining how context and perception create value, the lecture challenges and proposes “low” media as vital documentation of collective desire and identity.

Artist Bio
TZECHAR (Singapore / Melbourne) is an experimental art group that works across music, film, performance and digital media to create immersive audio-visual performances and conceptual art projects. Their practice investigates how individuals, cultures and systems attempt to co-exist through fundamentally absurd human constructs—from religion and finance to technology and myth. Reflecting on the tension between structure and chaos, tradition and rupture, ritual and recursion, they combine methodical composition with volatile noise and hyper-mediated imagery, invoking both the sacred and satirical. At the core of their practice, TZECHAR’s performances question how meaning, identity and coherence persist within systems designed to collapse.

Image Credit: Courtesy of the artist

Sesuatu yang nyata, sesuatu yang diabaikan (That is real, that is ignored) by Julian Abraham “Togar” and Oni Imelva

Time: 2.30PM - 3.30PM

Venue: SAM at Tanjong Pagar Distripark, Zora Harbour (The Engine Room/SIP at SAM)

Sesuatu yang nyata, sesuatu yang diabaikan (That is real, that is ignored) begins with sound: unruly, unbound and plural. Drummer Togar and vocalist Oni, who brings her voice, memory and experience, enfolds sonic gestures across geographies and temporalities into this live jam. Between percussion and voice, hikayat becomes both method and resistance: a way to listen where the state forgets, and to remember where history falters.

Part ritual, part assembly, this improvisational session plays with the automated percussion system in the truest sense: where a space of contact, refusal, listening and co-presence responds to the blur between machine and body, echo and memory.

This performance is developed in conjunction with Tokoh-tokoh, pengabdian, dan peradaban (Figures, dedications and civilisations), a presentation by Hyphen—.

Artist Bio
Julian Abraham “Togar” (Yogyakarta) is a multidisciplinary artist, musician and social researcher. His work blends active listening, programming and performance to explore the infrastructures of sound and its entanglement with colonial histories, environments, and daily rhythms.

Oni Imelva (Banda Aceh) is a traditional epic narrator, singer, social worker and human rights advocate. Currently Vice Chair of the Aceh Truth and Reconciliation Commission (2022–2027), she brings deep knowledge of the oral tradition, grief, and survival—especially in the wake of the 2004 tsunami—into poetic and civic action.

Image Credit: Courtesy of the artist

dream visitation teatime / i dreamt i was a funeral band uncle by Salty Xi Jie Ng

Time: 3.30PM - 4.30PM

Venue: SAM at Tanjong Pagar Distripark, Zora Harbour (The Engine Room/SIP at SAM)

What does it mean to be taught by the alchemy of grief in an everyday existence open to the unseen?

dream visitation teatime / i dreamt i was a funeral band uncle is a participatory performance-lecture-ritual. Weaving and activating personal archives and research into the spirit world and dream imaginaries, it opens paths for reinvention and incarnation. This performance extends from Ancestor Dream Visitation Repository 托夢庫, a research experiment that collects, theorises and translates dream visitations to propose new notions of lineage, remembrance and spirituality for the living. By inviting participants to partake in her edible artwork, Dream Visitation Candy 托夢糖, and experience their own visitations, Salty draws them into a cosmology led by a divinatory unfolding in the sacred mundane, where the subtle unseen gently whispers.

Artist Bio
Salty Xi Jie Ng (Singapore / Portland) is an artist, researcher, educator and akashic records practitioner. Serving an enchanted process, she prioritises collaborations with people, their lives and the interdimensional, intimate vernacular. Her transdisciplinary practice manifests across forms, including ritual, gathering, performance, community space, collaborative process, brief encounter, meal, video, installation, writing, publication and score. Across her artistic research, she explores the erotic, ancestry, inner worlds of older women, end-of-life and relationships with the departed and spirit worlds, while examining artistic labour and what gets to be called art.

Image Credit: Photo by Aloysius Lim. Courtesy of the artist.

Communal Composition II by Cherry Chan ft. DJ Zai and Itek

Time: 4PM - 7PM

Venue: SAM at Tanjong Pagar Distripark, Borderless (The Spine)

Communal Composition II is a durational participatory installation unfolding over three hours, where visitors become co-authors of a living artwork shaped by sound, gesture and collective presence.

A morphing soundtrack, mixed live by DJs, provides the tonal ground for the work, shifting between rhythms and textures that participants attune to through spontaneous gestures of marking, weaving and pleating. Over time, as the space transforms into an environment of attunement, these collective actions accumulate into an evolving tableau that blurs the boundaries between drawing, sculpture and ritual.

Visitors are encouraged to arrive in muted tones of beige, brown or black, and to create ephemeral crowns from leaves, underscoring the work’s grounding in care, ecology and communal embodiment.

Artist Bio
Cherry Chan (Singapore) is an electronic music artist, DJ and producer. Her acclaimed mixtape weaves a delicate thread through Singapore’s electronic underground, capturing a deep and emotional spacey aesthetic, and providing a moving musical snapshot of a city abuzz with exciting, experimental and innovative talents.

She is also co-founder of Syndicate, whose platform for visual and sonic experimentation and expression deconstructs current norms of dance music in Singapore and synergises visual ideas with performances, creating audio-visual installations in a myriad of spaces and contexts.

Image credit: Courtesy of the artist

Drifting Beacon by lololol

Time: 4.30PM - 5.30PM

Venue: SAM at Tanjong Pagar Distripark, Zora Harbour (The Engine Room/SIP at SAM)

In Drifting Beacon, lololol continues their exploration of resonance and perception. This performance activates multi-channel sound and vibrations to attune to the turbulence of storms, transforming instability into a field of sensing where the body and environment resonate.

Drawing from field recordings of lighthouses, the ocean, and maritime instruments, lololol crafts a cartography of disorientation. It navigates the threshold between signal and sensation, where echoes and pulses become wayfinding tools in shifting acoustic terrains. By manipulating spatial sound, the immersive performance turns listening into navigation, inviting the audience to meander through waves of resonance where boundaries between inner and outer space, body and world are blurred.

Drifting Beacon is a performance in conjunction with Light Keeper, a Singapore Biennale 2025 commission.

Artist Bio
lololol (Taipei) is an artist collective founded in 2013 by Xia Lin and Sheryl Cheung. The name, a boundless extension of the Internet slang “lol” (meaning “laugh out loud”,) evokes both I-Ching structures and computer code. The collective explores how emotions and body politics are informed by technological cultures, with interests spanning martial arts, materialist ontologies and Taoist-informed philosophies. Their ongoing project, “Future Tao,” engages Taoist mind–body practices as an alternative approach to technological exploration.

Image Credit: Courtesy of the artist

Kelas Tidur 2.0 (Sleep Class 2.0): The Healing Machine by Kamal Sabran

Time: 5.30PM - 6.30PM

Venue: SAM at Tanjong Pagar Distripark, Zora Harbour (The Engine Room/SIP at SAM)

Kelas Tidur 2.0 (Sleep Class 2.0): The Healing Machine explores sound as medicine and sleep as ritual. This new iteration of the artist’s ongoing explorations on sleep transforms an obsolete Kodak Carousel Slide Projector into both a sound instrument and visual healer.

Hand-painted and manipulated, each slide within the rotary contains abstract, conceptual visuals symbolising healing, restoration and inner calm. As each click transitions to the next slide, the projector produces a rhythmic, mechanical pulse—a tactile, breathing rhythm. All in one synchronised act, Kamal Sabran captures, amplifies and live-loops these internal movements, creating ambient soundscapes.

Kelas Tidur 2.0 (Sleep Class 2.0): The Healing Machine invites the audience to sit or lie down and listen inwardly, fostering collective stillness for inner restoration.

Artist Bio
Kamal Sabran (Ipoh) is an artist, academic and researcher working across the intersections of art, science, technology and spirituality. He received his PhD in Art and Design (New Media) from Universiti Teknologi MARA. His interdisciplinary practice focuses on art-based interventions for mental health, using experimental sound and electronic media within healing frameworks.

He is the founder of Space Gambus Experiment, a collective dedicated to experimental music. He also teaches at the School of The Arts, Universiti Sains Malaysia (USM) and is the founder of the USM Experimental Lab, a creative laboratory fostering new interdisciplinary art practices.

Image Credit: Photo by Anpis Wang. Courtesy of the artist.