Murmurs over the glass towers
Group Exhibition
Ands Studio presents Murmurs over the Glass Tower, a group exhibition that turns the everyday transit space of The Sidings at London Waterloo Station into an urban resonance chamber.
Bringing together ten artists working with sound, moving image, sculpture, performance, and photography, the exhibition investigates how individual voices can rise above the amplifying volume of the contemporary city.
When the familiar rhythm of the city falters—even for a moment—new possibilities to tune in emerge.
Continuing Ands Studio’s ongoing inquiry into “space and listening,” the exhibition returns art to everyday life, allowing resonance to unfold within public space.
Listening as an Urban Practice
Murmurs over the Glass Tower is not an exhibition about sound, but a study into the act of listening.
In cities governed by systems, logistics, and surveillance, sound becomes a social language—revealing patterns of visibility, vulnerability and power. The exhibition takes London as its prototype:
a city shaped by migration, historical accumulation, technological speed and constant negotiation.
Waterloo Station, one of London’s busiest transport nodes, becomes both site and metaphor. A place where journeys, bodies and identities intersect albeit briefly, it provides the conditions for a different kind of attention.
Here, the arrival of an exhibition functions as an interruption—an opening in the texture of everyday order, where overlooked voices can surface.
Beginning with a Fracture
~$ sudo apt-get install stuff-and-duct-tape, 2023
Zayd Menk
The exhibition opens with Zimbabwean artist Zayd Menk’s sculpture, ~$ sudo apt-get install stuff-and-duct-tape, placed at the station’s entrance window.
Composed of dismantled electronic casings and plastic shells, the work appears static yet internally vibrating — evoking the fractured tempo of technological environments and the disorientation of accelerated consumption.
stuff iii,2023
Zayd Menk
Positioned in a site of strict circulation and schedule, the work introduces the first rupture: a shift from the regulated order of the station into the contingent, unstable rhythm of the exhibition.
Voices Across the City
Each artist in the exhibition offers a distinct way of listening—through objects, memory, urban texture or the human voice.
1.Sunday, 2025 2.Rear Window,2025 3.Untitled, 2025
Shenyang Zhao
Shenyang Zhao listens to the city’s surfaces. His paintings of London’s red-brick buildings gather CCTV cameras, fences, roses, cigarette butts and small skeletal models into quiet scenes of suspended tension.
These architectural skins—normally overlooked, absorb the residues of daily life, turning into containers of urban memory.
How much Land does a man need (ПоЛп Гл), 2025
Angelos Kotzias
Angelos Kotzias works with vibration and rotation. In Archetype (0), low-frequency motors generate a physical hum that echoes the mechanical tempo of the city.
Archetype (0), 2025
Angelos Kotzias
In How much Land does a man need, soil, flowers and acrylic form a tableau of coexistence and erosion, speaking to the cycles of accumulation and exhaustion within contemporary urban life.
Four Stories, 2025
Lyuda Kalinichenko
Lyuda Kalinichenko’s presents both the installation Four Stories (2025) and the performance Figure 52, exploring how memory is reorganised, digitised and re-entered into the body.
Working with fabric, projection and measured bodily movement, the artist navigates a soft cocoon-like structure that oscillates between protection and exposure, balance and collapse—as she reconstructs the sensation of being present.
Figure ‘52’
Lyuda Kalinichenko
Within an exhibition concerned with urban noise, order and the suppression of quieter voices, Kalinichenko’s work forms a gentle counter-line. She asks: When memory becomes image, what remains real? And in a city running at full speed, how does the body find its place again?
Untitled, 2025
Yiwei Xu
Yiwei Xu turns to the subtle movements of nature. Painting a single tree in suburban London, she traces shifting light, wind and color—revealing how even stable structures are quietly reshaped over time.
Her work offers another mode of attention: sensing rather than dictating.
Who Are You?, 2025
Sam
Sam returns the exhibition to the scale of the individual. Inviting participants to handwrite a single answer to the question “Who are you?”, his photographic project foreground’s identity, belonging and multiplicity.
Each sheet of A4 becomes an assertion of presence. Simple, direct, and deeply human.
Social Grooming, 2025
Jiawen Zin Zhang
Jiawen Zhang enters the private sphere. By exchanging haircuts with East Asian women in their homes, she gains access to intimate domestic spaces rarely visible in public narratives.
Conversations unfold between gestures; emotions surface not through verbal interviews, but through touch, proximity and everyday vulnerability.
Her work gently shifts the viewer from systemic perspectives back to interpersonal perception.
Together, the works trace a path:
urban exterior → technological rhythm → memory → identity → relationship.
A trajectory from how cities are built toward how cities are felt Bodies as Sounding Instruments At the centre of the exhibition, the voice becomes physical.
Speaker’s
Zhuyang Liu
In Zhuyang Liu’s performance Speaker’s, a wearable sound apparatus attaches vibration units and a mixing system directly to her body.
With six microphones embedded among the audience, each movement produces unstable feedback frequencies, transforming the entire space into a live and volatile sound field.
The work lays bare an implicit structure of power: who is amplified, who is muted, who is heard and who must remain silent.
Running and Screaming
Lil Soap’s (Corey Lyu)
Lil Soap’s (Corey Lyu) Running and Screaming follows as a second performance. Beginning in whispers and collapsing into distorted breath, the work examines the queer body within the rhetoric of “safety”—protected yet constrained, visible yet regulated.
Running and Screaming
Lil Soap’s (Corey Lyu)
Through loops, delays and real-time processing, the voice becomes both a site of resistance and a site of exhaustion.
Toward a Shared Quiet
On the final day of the exhibition— coinciding with the Indian festival Bestu Varas, musician JAE-X (Jay Mistry) presents Friendship Manifesto, blending tabla rhythms with electronic textures.
Friendship Manifesto
JAE-X(Jay Mistry)
His performance rethreads the city’s dispersed murmurs into moments of relational closeness.
The exhibition concludes not with crescendo but with a return to near-silence.
Here, it becomes clear that art is not merely displayed but constructed between us—in the fragile intervals of listening, in the negotiations of proximity, in the shared consciousness of being together in a city always muffled by noise.
In this temporary resonance,
art happens between use.
Group Exhibition
Ands Studio presents Murmurs over the Glass Tower, a group exhibition that turns the everyday transit space of The Sidings at London Waterloo Station into an urban resonance chamber.
Bringing together ten artists working with sound, moving image, sculpture, performance, and photography, the exhibition investigates how individual voices can rise above the amplifying volume of the contemporary city.
When the familiar rhythm of the city falters—even for a moment—new possibilities to tune in emerge.
Continuing Ands Studio’s ongoing inquiry into “space and listening,” the exhibition returns art to everyday life, allowing resonance to unfold within public space.
Listening as an Urban Practice
Murmurs over the Glass Tower is not an exhibition about sound, but a study into the act of listening.
In cities governed by systems, logistics, and surveillance, sound becomes a social language—revealing patterns of visibility, vulnerability and power. The exhibition takes London as its prototype:
a city shaped by migration, historical accumulation, technological speed and constant negotiation.
Waterloo Station, one of London’s busiest transport nodes, becomes both site and metaphor. A place where journeys, bodies and identities intersect albeit briefly, it provides the conditions for a different kind of attention.
Here, the arrival of an exhibition functions as an interruption—an opening in the texture of everyday order, where overlooked voices can surface.
Beginning with a Fracture
Zayd Menk
The exhibition opens with Zimbabwean artist Zayd Menk’s sculpture, ~$ sudo apt-get install stuff-and-duct-tape, placed at the station’s entrance window.
Composed of dismantled electronic casings and plastic shells, the work appears static yet internally vibrating — evoking the fractured tempo of technological environments and the disorientation of accelerated consumption.
Zayd Menk
Positioned in a site of strict circulation and schedule, the work introduces the first rupture: a shift from the regulated order of the station into the contingent, unstable rhythm of the exhibition.
Voices Across the City
Each artist in the exhibition offers a distinct way of listening—through objects, memory, urban texture or the human voice.
Shenyang Zhao
Shenyang Zhao listens to the city’s surfaces. His paintings of London’s red-brick buildings gather CCTV cameras, fences, roses, cigarette butts and small skeletal models into quiet scenes of suspended tension.
These architectural skins—normally overlooked, absorb the residues of daily life, turning into containers of urban memory.
How much Land does a man need (ПоЛп Гл), 2025
Angelos Kotzias
Angelos Kotzias works with vibration and rotation. In Archetype (0), low-frequency motors generate a physical hum that echoes the mechanical tempo of the city.
Angelos Kotzias
In How much Land does a man need, soil, flowers and acrylic form a tableau of coexistence and erosion, speaking to the cycles of accumulation and exhaustion within contemporary urban life.
Lyuda Kalinichenko
Lyuda Kalinichenko’s presents both the installation Four Stories (2025) and the performance Figure 52, exploring how memory is reorganised, digitised and re-entered into the body.
Working with fabric, projection and measured bodily movement, the artist navigates a soft cocoon-like structure that oscillates between protection and exposure, balance and collapse—as she reconstructs the sensation of being present.
Lyuda Kalinichenko
Within an exhibition concerned with urban noise, order and the suppression of quieter voices, Kalinichenko’s work forms a gentle counter-line. She asks: When memory becomes image, what remains real? And in a city running at full speed, how does the body find its place again?
Yiwei Xu
Yiwei Xu turns to the subtle movements of nature. Painting a single tree in suburban London, she traces shifting light, wind and color—revealing how even stable structures are quietly reshaped over time.
Her work offers another mode of attention: sensing rather than dictating.
Sam
Sam returns the exhibition to the scale of the individual. Inviting participants to handwrite a single answer to the question “Who are you?”, his photographic project foreground’s identity, belonging and multiplicity.
Each sheet of A4 becomes an assertion of presence. Simple, direct, and deeply human.
Jiawen Zin Zhang
Jiawen Zhang enters the private sphere. By exchanging haircuts with East Asian women in their homes, she gains access to intimate domestic spaces rarely visible in public narratives.
Conversations unfold between gestures; emotions surface not through verbal interviews, but through touch, proximity and everyday vulnerability.
Her work gently shifts the viewer from systemic perspectives back to interpersonal perception.
Together, the works trace a path:
urban exterior → technological rhythm → memory → identity → relationship.
A trajectory from how cities are built toward how cities are felt Bodies as Sounding Instruments At the centre of the exhibition, the voice becomes physical.
Zhuyang Liu
In Zhuyang Liu’s performance Speaker’s, a wearable sound apparatus attaches vibration units and a mixing system directly to her body.
With six microphones embedded among the audience, each movement produces unstable feedback frequencies, transforming the entire space into a live and volatile sound field.
The work lays bare an implicit structure of power: who is amplified, who is muted, who is heard and who must remain silent.
Lil Soap’s (Corey Lyu)
Lil Soap’s (Corey Lyu) Running and Screaming follows as a second performance. Beginning in whispers and collapsing into distorted breath, the work examines the queer body within the rhetoric of “safety”—protected yet constrained, visible yet regulated.
Lil Soap’s (Corey Lyu)
Through loops, delays and real-time processing, the voice becomes both a site of resistance and a site of exhaustion.
Toward a Shared Quiet
On the final day of the exhibition— coinciding with the Indian festival Bestu Varas, musician JAE-X (Jay Mistry) presents Friendship Manifesto, blending tabla rhythms with electronic textures.
JAE-X(Jay Mistry)
His performance rethreads the city’s dispersed murmurs into moments of relational closeness.
The exhibition concludes not with crescendo but with a return to near-silence.
Here, it becomes clear that art is not merely displayed but constructed between us—in the fragile intervals of listening, in the negotiations of proximity, in the shared consciousness of being together in a city always muffled by noise.
In this temporary resonance,
art happens between use.