3 Evenings: Installations
Experiments in Performance and Technology. Installations by Ayoung Kim and studios artists Xin Liu, Keiken and Louis Morlæ.
This event is happening offsite at Wapping Hydraulic Power Station, E1W 3SF
| Dates | 16–18 Oct 2026 |
| Times | 16 Oct 7–10.30pm 17 Oct 6.30–10.30pm 18 Oct 3.30–7.30pm |
| Space | Wapping Hydraulic Power Station, E1W 3SF |
| Price | £25 (General) £20 (Concessions) |
Artists in Residence
This event is part of 3 Evenings
Across all three nights of 3 Evenings, audiences can experience world premieres of newly commissioned interactive installations from Ayoung Kim, Xin Liu and Keiken alongside a reimagined work from Louis Morlæ.
Ayoung Kim
The world premiere of this new commission from Ayoung Kim, expanding the world of Delivery Dancer into multiple game formats. An artist at the forefront of digital innovation, Kim uses generative AI, videogame engines and live-action footage to create narratives that collide biopolitics, geopolitics, synthesize mythologies and interrogate technologies. Her Delivery Dancers series follows two female delivery drivers (or Dancers) as they pursue never-ending delivery work, under the control of a master AI algorithm called Dancemaster.
For 3 Evenings, Kim debuts a new playable video game for an intimate audience, the game relayed to all screens throughout the venue at fixed moments each night. An online version will be released on Channel, Somerset House’s online commissioning space, in February 2027.
Ayoung Kim’s work, PH Express (2011), is also featured in the group exhibition The Unclassified at the Korean Cultural Centre UK, London, from 25 September to 31 December 2026.
Xin Liu: nom nom
Drawing on Neural Cellular Automata, a computational model inspired by biological growth, nom nom is an interactive installation exploring how complexity can emerge from simple rules. Rather than representing an existing ecosystem, the work constructs a world in real time, where landscapes and inhabitants develop through the collective behaviour of countless interconnected agents.
The audience interacts with an artificial world composed of millions of particles. Across a large-scale LED surface, patterns emerge, dissolve and reform, tracing the continuous evolution of a landscape generated through local interactions between microscopic agents.
Keiken: Liquid Perception
Using a new embodied empathy technology, Liquid Perception employs light-based sensors, headphones and haptic devices to facilitate non-verbal communication. Within its relational, non-verbal empathy interface, participants encounter and inhabit new perceptual worlds.
Guided by way-finding paths through the space, audiences move through a series of encounters in which individual actions influence the experience of others, creating a collective perceptual environment that is continually shifting and reconfigured.
Louis Morlæ: Euphoria Rover (Moonlighting)
Morlæ’s Euphoria Rover takes its cue from the industrial design of autonomous rovers and self-driving machines, featuring multi-terrain wheel sets, protective grills, beacon lights and weather sensors. Caught between forward-thinking machine, nomadic rave-bot and gormless AI pet, Morlæ’s mobile sculpture animates questions of automation and human-digital interfaces with humour and absurdity.
Originally commissioned for Bold Tendencies' 2026 Euphoria programme, the rover makes its journey to Wapping, periodically roaming the power station's courtyard under its newly assumed role as venue janitor – the computerised vehicle monitoring 3 Evenings' rubbish disposal alongside its team of co-workers-come-handlers, performed by Morlae and fellow Studios resident John Costi.
Capturing wind speed and solar energy, Euphoria Rover emits an ‘animative’ score modulated in real-time by surrounding weather conditions. The soundscape is composed in collaboration with Somerset House Studios artist felicita, and executed in partnership with technology start-up and AI-driven audio engine bronze.ai.
3 Evenings is a playful reimagining of the 1966 event 9 Evenings: Theatre and Engineering, considered a pivotal moment in the history of artists working with new technologies. A three-night event and international transmission, it will bring Somerset House Studios’ distinctive approach to interdisciplinary experimentation offsite to east London’s Wapping Hydraulic Power Station, Wapping Wall .
3ETV, an interactive TV channel and evolving digital artwork broadcasting beyond the live event, will extend the project online, in partnership with HEK (House of Electronic Arts, Basel), M+ (Hong Kong), Onassis ONX (Athens/New York) & Pioneer Works (New York).
3 Evenings is supported by Glass Castle Foundation.
Ayoung Kim's installation is co-commissioned by Somerset House Studios, Canyon (NYC) and Nieuwe Instituut (Rotterdam). The presentation at 3 Evenings is supported by the Korean Cultural Centre UK.
nom nom was commissioned by LAS Art Foundation in collaboration with Google Arts and Culture Lab, and developed during an LAS Online Artist Residency 2025-2026.
Biographies
Ayoung Kim
Ayoung Kim lives and works in Seoul, Korea. Kim weaves reality anew through a tapestry of hybrid narratives, integrating geopolitics, mythology, technology, technoprecarity, and speculative temporalities into her work. Kim often depicts nonconformists or technoprecarious entities whose resistance or misalignment leaves behind strange and singular traces as they deviate from prescribed trajectories. Kim’s synthesized narratives result in far-reaching speculation, establishing connections between biopolitics and border controls, the memories of stones and virtual memories, and ancestral origins and imminent futures across various media. Her practice incorporates discourses on optical and post-optical media, performativity, game simulation, and the narrativity of fiction. Her interest in synthesis, hybridization, and the coexistence of heterogeneous time led to an interest in all kinds of intersections, transfers, transpositions, and interchanges of time, space, structure, and syntax.
Keiken
Keiken (経験), meaning “experience” in Japanese, is an artist collective pioneering a collaborative approach to creating immersive worlds through embodied storytelling, empathetic technologies, and deep world-building. Their work moves fluidly between games, films, installations, and performance, crafting experiences that prototype speculative futures. Keiken create deeply interconnected experiences that invite audiences to feel, connect, and transform.
Xin Liu
Xin Liu is an artist and engineer. Her practice works within the entropic aftermath of scientific and industrial ambition, foregrounding exhaust as a generative state: rocket fragments falling back to Earth; cryogenic vessels suspending organic matter; genomic code rendered as unreadable scripture; plastics dissolving under enzymatic digestion; satellites logging their own obsolescence.
Her work operates across material and algorithmic systems. On the material level, she traces how matter is extracted, transformed, and degraded through processes of accumulation, decay, and redistribution. In parallel, she develops computational systems that enact these dynamics algorithmically, generating patterns of growth, erosion, and emergence through local rules and distributed interactions. Across both domains, Liu treats matter and computation as continuous substrates through which metabolic processes unfold.
Taken together, Liu develops Cosmic Metabolism as a conceptual and material framework that investigates the transformation, circulation and degradation of matter across technological and planetary systems.
Louis Morlæ
Louis Morlæ (1992, Melbourne, AU. Lives and works in London, UK) is an artist whose multimedia world-building spans sculpture, video, installation and robotics, together exploring the intersection of digital technology, industrial design and character-driven narrative. Interested less in a distant and abstracted future, but the furthest and most tantalising edges of what might be possible within the current moment, Morlæ’s work evokes a surreal, science-fictional landscape populated with an array of android-like figures, game-engine animations and futuristic mechanical infrastructure.
Created using contemporary techniques of computer-aided design, 3D printing and algorithmic processing, his work touches on the metaverse, industrial automation and artificial intelligence, depicting humanity’s accelerating relationship to the digital with tactility, escapism and humour, oscillating between visions of progress and upheaval, utopia and dystopia.
Morlæ completed his Post-graduate Diploma in 2023 from the Royal Academy of Arts, London, having previously studied BFA Design, at the Manchester School of Art in 2014. Recent solo presentations of his work include Rose Easton, London, UK (2025); Somerset House, London, UK (2024); Duarte Sequeira, Braga, PT (2023); Final Hot Desert, Isle of Sheppey, UK (2022); Moarain House, London, UK (2022); Asylum Studios, Suffolk, UK (2018); and Soft Opening, London, UK (2018).
Group exhibitions include Contemporary Art Museum of Estonia, Tallinn, EE (2025); Gathering at ECHO, Cologne, DE (2024); Silke Lindner, New York, US (2024); Roman Road at The Columbia, London, UK (2020); Horse Hospital, London, UK (2019); and Cob Gallery, London, UK (2017).
In 2023 Morlæ completed the Somerset House Studios Creative Technologies Fellowship and was awarded The Keeper’s Prize from the Royal Academy of Arts, London. His work is now held in the Royal Academy of Art’s public collection. In 2025 Morlæ was awarded the illy Present Future Prize 2025, and in 2026 will present a major solo exhibition at Tranen in Copenhagen, one of Denmark’s oldest contemporary art centres, as well as a solo exhibition at Fondazione Sandretto Re Rebaudengo.