Presented by Singapore Art Museum as part of its Open Systems online exhibition series, Prototypes for Alternative Power presents artworks that interrogate the infrastructures shaping contemporary life and imagine provisional or radical alternatives. These systems carry histories of labor, extraction, displacement, and erasure—yet they also hold spaces for improvisation, resistance, and reimagination.

In American Artist’s Don’t Boil Your iPhone in Coca-Cola! and Jen Liu’s Pink Slime Caesar Shift: Gold Loop Chapter 2, digital devices are exposed as sites of economic and ecological power. The former playfully considers the destructive potential of a viral gesture against corporate hegemony, while the latter traces the toxic afterlife of e-waste, revealing the global labor and environmental exploitation embedded in electronics production. Ryan Kuo’s File and Bani Haykal’s Sifrmu transform procedural and algorithmic systems into relational spaces: the wiki and the encryption protocol become instruments of reflection and intimacy. Herdimas Anggara inhabits familiar digital platforms as vessels for ritual and performative occupation in RASUK, proposing that possessing, or hacking, can be a form of resistance.

Other works draw attention to the politics of surveillance and territorial control. MORAKANA’s Cumulus uses satellite imagery to follow clouds drifting across the Mexico–US border, revealing how infrastructures of observation both enforce and obscure boundaries. Similarly, Samson Young’s Liquid Borders captures the sonic vibrations of fences and rivers along the Hong Kong–Shenzhen frontier, demonstrating how borders rely on physical structures that are not absolute. Alice Yuan Zhang’s Enantiodromia traces tensions between local, circular networks and centralized, scalable infrastructures in rural India, showing the interdependence and friction of different technological logics.

Several works consider the historical and epistemic biases embedded in standardization: Ryan Clarke’s Shirley Sound documents the erasure of Black musicians’ sonic contributions in compressed audio, while Or Zubalsky’s Request Deferred exposes archival infrastructures that obscure histories of dispossession. Other interventions—Ho Rui An’s DASH, Rimbawan Gerilya’s What Little Control Remains Has Been Taken Away, and Chia Amisola’s SQUATTING—foreground the contingent, unstable, or improvisational potentials of social, digital, and civic infrastructures.

Together, these projects operate as proposals or prototypes, revealing the fragility, arbitrariness, and embedded power of technological and state systems, while offering moments of resistance, reinterpretation, and radical possibility. The exhibition website, designed by Yehwan Song and developed by Mark Beasley, extends this inquiry through Song’s practice of “anti-user-friendly” interface design, which invites users to question the dominant logic of seamless web experiences by introducing small frictions. The website design references the sunshine recorder, a meteorological instrument used to measure the daily duration of bright sunlight, while the site itself is hosted on Solar Protocol, a web platform distributed across a network of solar-powered servers set up in different locations around the world. This artist-founded experiment in DIY server technology models a renewable and decentralized approach to digital infrastructure as a counterpoint to the vast server systems controlled by major technology corporations. By orienting internet protocols towards a natural intelligence based on earthly dynamics (rather than towards an artificial intelligence), the exhibition website turns infrastructure into both subject and experiment, extending the exploration of subversive technological alternatives into the conditions of the artworks’ display.