Kill Your Television (KYTV) was founded in 2002 by Aaron Kao, Jeremy Sharma and Rizman Putra to explore the boundaries of art genres and forms such as visual arts, installation, writing, movement, music, sound art, and multimedia. Under the direction of Co-Artistic Directors Rizman Putra and Choy Ka Fai from 2004, KYTV moved towards the hybrid territories of contemporary arts and creates performance works relating to the complex structures of urban existence. From 2009 to 2022, KYTV did not create any collective artwork nor did they announce the closure of the collective. Their members have kept themselves alive and survived the pandemic in 2020. Some has continued to make art for a living, while others move on to greater things in life.

In 2022, KYTV produce their last artwork as an epilouge to the 20 years of existence as an art collective. Day of Being Wild is a 33-minute self-made mocumentary film that discusses the histories and legacies of KYTV in the Singapore art scenes in the early 2000s. Staying true to themselves till the very end, this epilogue was filled with a lot of love, fun, and self-deprecating humour.

The P.O.P Station Greatest Hit is a new installation of the KYTV live art project where they invite anyone to become a pop star. More than a decade before TikTok took over the social media world, KYTV had envisioned the decentralisation of pop culture, where the individual regained control of their own creative expression.

In "The Politics of the Popular Station" (2004-2009), anyone can sing and dance to a popsong while being filmed in a fantasy world. Within 24 hours, a unique music video will be uploaded on YouTube for the world to enjoy. This satirical and quite unconventional edition, which can be described as a kind of mixture of a reality TV show American Idol (2002-present) and the Asian karaoke machine, exposes our longing, at least once in our lives, to be a star. The acronym says it all: "P.O.P.” (The Politics of the Popular).

Not Available on Print Date is an experiment, a project that transcends the varied medium of art and an exploration of performance in its most spontaneous state of actions and reactions. This project is like a giant playground for us as the creator and performer, as the interchangeable structure of this work challenges us to formulate a hyper-flexible performance structure that is “ready” and “fluid”.

Despite the pre-prepared contents, we willingly surrender the directing power to the audience consensus, and purposefully allowing errors and accidents to happen. Maybe this is our own version of "reality performance" where raw emotions are exchanged almost instantly with the voting interventions of the audience members. And once again, we find ourselves questioning the very essence of performance in the hybrid territories of contemporary art. Kill your television and watch us live.

Design for Death is an artistic retaliation against the system designed to conform us too much — an indirect response to the system that we seldom question. A design for life that has become a reality: a syllable of success that we are all too familiar with. If this is the only way of life, then we would rather all of it to be a design for death. We hope to find an alternative — another design that we can live within, and at the same time, be human in this absurd world. 

In our phantasmagoria city of bright light and rapid images, our everyday lives are confronted with the sensation of impossibility. We are all working towards a dateline, but it might just be a DEAD/LINE.