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Bani Haykal

Encompassing several disciplines including installation and performance, Haykal’s interest lies at the intersection of political economy, music and speculative fiction. Working with a broad range of instruments, from acoustic to digital, traditional and hacked, his projects revolve around modes of interfacing and interaction. He is a member of b-quartet and Soundpainting ensemble Erik Satay & The Kampong Arkestra. Haykal has presented works at institutions such as the Substation Gallery, Platform 3, Institute of Contemporary Art Singapore, and 8Q@SAM. He was an artist-in-residence at the NTU-Centre for Contemporary Art Singapore where he conducted research on the Cultural Cold War, identifying the politics of the internationalisation of Jazz music, its relationship with freedom, whilst reflecting on the present methods of promoting democracy and capitalism through digital technology. As a composer and performer, he has collaborated with Ho Tzu Nyen, Teater Ekamatra, the Dance Company, Raka Maitra, and The Necessary Stage among other artists and musicians. Haykal has also participated in festivals including Les Hivernales: Avignon, Media/Art Kitchen, RRREC FEST, Liquid Architecture, da:ns Festival and The M1 Fringe Festival. Aside from his practice as an artist, Haykal has curated projects relating to sound and music, including Tribal Gathering of Tongue Tasters (The Substation, 2012 – 2013), SOUND: Latitudes and Attitudes (Earl Lu Gallery, Institute of Contemporary Art Singapore, 2014); co-curated with Joleen Loh and Aural Narratives (National Gallery Singapore, 2015). He is currently an Associate Artist with Singapore theatre company, The Necessary Stage.

involved in:

Seeing Sound

Featuring the work of Seth Cluett, Juan Cortés, Iain Forsyth and Jane Pollard, Bani Haykal, Yuko Mohri, Marina Rosenfeld, Aura Satz, and Samson Young, the exhibition foregrounds artistic practices that deconstruct, rebuild, manipulate, and visualize audio experience through digital and analog means.

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