Ho Tzu Nyen has long been preoccupied with the way history repeats in disguise: empire folds into empire, technologies of governance advance, and yet the conditions of control remain eerily familiar. In the Luxembourg iteration of the Singaporean artist and filmmaker’s mid-career retrospective, time is an instrument of power that measures mechanical precision against mythological recurrence: Ho’s work asks what it means to resist its rhythm. Entering the exhibition, an arrangement of five screens laid out before woven mats suggests both an intimate gathering and a formal ritual. Collectively titled Hotel Aporia (2019), these video vignettes recount fragmented stories from Southeast Asian nations during the Japanese occupation, the faces of the characters deliberately blurred and anonymized by the artist. Hotel Aporia proposes that empire is not only about land but about temporality: to control time is to control narrative, labor, and even perception itself. Anonymity is not just an erasure but a symptom of the empire’s ability to reduce individual subjects to the status of interchangeable bodies, caught in the loops of time. T for Time: Timepieces (2023–ongoing) gathers a constellation of luminous images—Sisyphus pushing his rock, a river flowing endlessly, a beating heart—on screens in a dark room, leading …