On Third Listening

“So many stars are twinkling above me that I can hear them. I listen to their hum, countless voices whispering in my ear. I can imagine what they’re saying to me. I’m carrying the whole universe on my shoulders. We all do, all of us.” – Nona Fernández, Voyager

The third edition of The Listening Biennial invites us to tune into the humming stars above and the countless voices they carry. These are voices of love and loss, voices that hold the past while evoking a future, and that resound with mystery and force, threading cosmic matter and embodied life with their potent stories. While our terrestrial, material existence demands increasingly committed forms of engagement, the cosmic voices above may continue to offer guidance in becoming-relatives. To look up is to listen out for a plurality of life-forms as well as pathways of connection found between here and there. The Listening Biennial aims at fostering a time and space in which such interstitial listenings may flourish.

Presented across a constellation of partner institutions and spaces located in different parts of the world, and in collaboration with associated collectives and creative initiatives, The Listening Biennial takes shape through the concept of Third Listening, emphasizing the intersubjective and the interdependent. Third Listening is imagined as a form of interstitial listening intent on sensing and staying with the differential urgencies spanning cultural and material worlds. Third Listening is a listening done together and in spite of exclusionary systems, lending to acts of speaking-with and the embodied, living ethics that support diverse abilities. This includes holding the tension inherent to hospitality, where coexistence requires the ongoingness of struggle, imagination, courage and protection. 

Third Listening as a framework has been developed through workshops, conversations and collaborative testings over the past year, involving many contributors and interlocutors in different places and contexts. These have been vital situations for reflecting upon the concept as well as opening onto ways of enacting a third listening dynamic. From contending with current polarizations to protecting the shared vitality spanning planetary life, such interstitial listening follows the pulse of a thick relationality defining contemporary experience. These are rhythmic, entangled and messy states of being mobilized to foster reparative, restorative action and the maintenance of material partnerships. Carrying the Third invites ways of committing to each other.

Following the concept of Third Listening, The Listening Biennial features artists, musicians, researchers and activists whose works give expression to the intersubjective and the interdependent, animating the specters and stories of planetary coexistence. These are elaborated through a multi-faceted program of exhibition presentations, listening situations, intimate gatherings, discursive and performance events, and explorative workshops taking place across 20 locations over two-months. This includes a program of online conversations aimed at bridging locations and languages as well as the publication of a series of audio papers by invited contributors. 

Since 2021, The Listening Biennial has sought to foster research and discussion on listening, recognizing its transformative power as key to enriching personal lives and social initiatives, and which supports ethical and political practices. The third edition of The Listening Biennial is offered as a listening journey, inviting intimacy and the critical joy of collective worldings. 

Exhibiting artists:

Florence Cats/Lilja María Ásmundsdóttir (Belgium/Iceland), Rachel S. Y. Chen (Singapore), Kaur Chimuk (India), Čhoakkeladd (Kashmir), Mariana Pinto Coelho Dias (Portugal), MycoDyke (India), Hear & Found (Thailand), Shwe Wutt Hmon (Myanmar), Lynn Nandar Htoo (Myanmar), Lagos Sound Artists Collective (Nigeria), Okui Lala, Ana Estrada, Nasrikah (Malaysia/Australia/Indonesia), Nicole L’Huillier (Chile/Germany), Chong Li-chuan (Singapore), Subash Thebe Limbu (Nepal/United Kingdom), Elena Lucca (Argentina), Imaad Majeed (Sri Lanka), Yara Mekawei (Egypt), Graciela Muñoz (Chile), Jacqueline Nova (Belgium/Colombia), Lujáne Vaqar Pagganwala (Pakistan/United Kingdom), Amanda Piña (Austria/México), Ruhail Qaisar (Ladakh), Superlative Futures - Wong Zihao & Diancong Liu (Singapore), Irazema H. Vera (Peru), Valentina Villarroel (Chile), YIM Sui Fong (Hong Kong), zeropowercut (India).

Curated by: 

Alecia Neo, Soledad García Saavedra, Suvani Suri with Brandon LaBelle. 

Curatorial partners include: 

Luís Alvarado / Nicolás Kisic Aguirre, Mario Asef, Florencia Curci / Julia Rossetti / Mene Savasta Alsina, Bárbara González, Sara Hamdy, Bojana (S) Knežević, Isuru Kumarasinghe & Sara Mikolai, Israel Martínez, Ng Kah Gay, Bureau for Listening / Lucy Cathcart Frödén, Hara Alonso, Bukola Oyebode-Westerhuis, Elif Gülin Soğuksu / Banu Çiçek Tülü / Merve Ünsal, Alexandre St-Onge, Lucia Udvardyova, Yang Yeung.

Artistic director: Brandon LaBelle.

Associate directors: Annette le Fort, Elizabeth Gallón Droste, Pablo Torres Gómez.

Partner institutions, organizations and venues:

Radio CASo; Espacios del Arte Sonoro (UNTREF); Centro Cultural San Martín (Buenos Aires), Centro del Sonido (Lima), Centro de Extensión Palacio Pereira (Santiago de Chile), Parque Escuela (Valparíso), La Puerta Azul (Ajijic, Mexico), L’École d'art de l'Université Laval (Quebec City), Musicmatters Collective (Colombo), Foundation for Indian Contemporary Art; Khoj Studios (New Delhi), soundpocket (Hong Kong), TheCube Project Space (Taipei), Sigisora & Forum Lenteng (Jakarta), Center for Contemporary Art (Lagos), Sonic Spaces (Cairo), Avto (Istanbul), Fylkingen (Stockholm), Sound Zone (Malmö), Ballhaus Ost; daadgalerie (Berlin), Lydgalleriet (Bergen), Mjølnerparken; Simian (Copenhagen), CAM-Gulbenkian (Lisbon), Aural Pluralities (London), Bruno; Sound Studies Hub, University of Venice (Venice), Easterndaze (Varna), Firefly Frequencies (online), Art:Dis Singapore; Arts Resource Hub; Ethos Books; LASALLE College of the Arts; Objectifs Centre for Photography and Film; Singapore Night Festival, Stamford Arts Centre (Singapore), Transients (Seoul), Tselinny Center for Contemporary Art (Almaty).

For more on the curatorial concept of Third Listening, please see the essay by Brandon LaBelle.

More details to follow.