
Visual artist Nadim Abbas and choreographer Chan Wai-lok explore economy, attention and movement in immersive installation-performance
An immersive crossover of installation art and contemporary dance titled “No Time To Die: An Inert Liquid Assembly” will premiere in Hong Kong at the Freespace Dance 2025 festival from 20-23 and 27-30 November 2025. The work is a collaboration between visual artist Nadim Abbas and choreographer‐performer Chan Wai‑lok, hosted in The Room at the West Kowloon Cultural District and produced by cross-disciplinary platform No Discipline Limited.
Set in a hybrid space described as “part domestic interior, part logistics warehouse”, the production invites audiences to traverse installation environments by day and attend a one-hour fifteen-minute performance at night.
Through layered visuals of cardboard models, packaging material and robotic grabbers, the piece reflects on modern life’s saturation of data, the fluidity of economy, and a sense of “no-thing to grasp”.
Abbas and Chan draw on the Cantonese phrase “I have time to die but no time to get sick” to frame a socioeconomic mood of extracted attention and deferred value.
According to the production notes, the installation exposes a scenario in which the work done is zero when “there is no-thing to displace”, and the economy is processed through attention rather than material ownership.
The choreography embraces stillness and minimal movement, described metaphorically as “quiet quitting” and the “inert liquid assembly” of information and objects around absent products.
The project emerges under this year’s festival theme, “Speculative Futures: Asia-Pacific Perspectives,” which positions the work alongside interdisciplinary dialogues from the region.
The producers emphasise audience choice of engagement mode: visitors may experience the space at their own pace during open exhibition slots or join the framed performance evening.
Ticketing details indicate performance tickets start at HK$300, while exhibition access is free.
Concession rates and group-purchase discounts are available.
The timing and format of the event encourage reflection on how urban dwellers navigate a high-velocity, information-dense world when movement becomes logistics and stillness itself a form of resistance.
Set in a hybrid space described as “part domestic interior, part logistics warehouse”, the production invites audiences to traverse installation environments by day and attend a one-hour fifteen-minute performance at night.
Through layered visuals of cardboard models, packaging material and robotic grabbers, the piece reflects on modern life’s saturation of data, the fluidity of economy, and a sense of “no-thing to grasp”.
Abbas and Chan draw on the Cantonese phrase “I have time to die but no time to get sick” to frame a socioeconomic mood of extracted attention and deferred value.
According to the production notes, the installation exposes a scenario in which the work done is zero when “there is no-thing to displace”, and the economy is processed through attention rather than material ownership.
The choreography embraces stillness and minimal movement, described metaphorically as “quiet quitting” and the “inert liquid assembly” of information and objects around absent products.
The project emerges under this year’s festival theme, “Speculative Futures: Asia-Pacific Perspectives,” which positions the work alongside interdisciplinary dialogues from the region.
The producers emphasise audience choice of engagement mode: visitors may experience the space at their own pace during open exhibition slots or join the framed performance evening.
Ticketing details indicate performance tickets start at HK$300, while exhibition access is free.
Concession rates and group-purchase discounts are available.
The timing and format of the event encourage reflection on how urban dwellers navigate a high-velocity, information-dense world when movement becomes logistics and stillness itself a form of resistance.







































