THE LISTENING BIENNIAL

THE LISTENING BIENNIAL

THE LISTENING BIENNIAL 2025 - ON THIRD LISTENING FIREFLY FREQUENCIES BECOMING THIRD RADIO “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") This special firefly series hosts the works selected for the third edition of The Listening Biennial, inviting 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. The third edition of The Listening Biennial is offered as a listening journey, inviting intimacy and the critical joy of collective worldings. The pieces will also be broadcast on firefly frequencies regular slots on lumbug radio, our interlocal network of independent radios begun during documenta fifteen. Curated by Alecia Neo, Soledad García Saavedra, Suvani Suri with Brandon LaBelle. READ MORE here

Episodes

September 10, 2025 19 mins
Jacqueline Nova (Belgium/Colombia)
“Creación de la tierra” (1972)

"Creación de la tierra" is a piece that can be classified as “tape music” or “electroacoustic music for fixed media”; however, the composer consistently emphasized describing it as a work “for electronically transformed voice”. It was composed using archival material, featuring a fragment of one of the chants of the creation of the earth, in the voice of an Indigenou...
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Graciela Muñoz (Chile)
“In a cloud” (2025)

"In a cloud” emerged from the Omora forest, in the sub-Antarctic region of Chile, in 2025. At that time, we experimented with field recordings and transmissions: signals, feedback, and transfers in interconnections with insects, mosses, lichens, and objects found there. “In a cloud” is a fragment of that immersive experience. 




Graciela Muñoz (Chile, 1982)
is a composer, performer, and resear...
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Yara Mekawei (Egypt)
“Feed on Wasted Energy” (2025)

A plate: rice, tomato, broccoli, grapes—
bacon’s grease bleeding into pomegranate molasses. Arugula wilts under the weight of silence.



Three girls. A man of forty winters.
Yellow light pools behind him, a dim coronet,
as he dissects his meal—slow, methodical—
unmoved by untouched plates, by glances
stitched in secret between daughters.
Years grind like tectonic plates here:
no accidents, on...
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Imaad Majeed (Sri Lanka)
“Questions of Jailani” (2025)

"Questions of Jailani" is a sound-based artwork that explores the contested sacred site of Dafther Jailani in Kuragala, Sri Lanka– a place where overlapping mythologies, militarized nationalism, and religious orthodoxy converge to distort plural histories. Once an overflowing Sufi shrine, Jailani has become a battleground of authenticity– Sinhala Buddhist nationalists seek to ref...
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Elena Lucca (Argentina)
“Habitar, Cohabitar, Rehabitar para el Reencantamiento” (2025)

The song, the word, the wind, the night, the movement, the sound of the voice, the silence, the calm, other voices dialoguing, a space where everything happens in a musical moment, which recalls “l’ environnement suspended ou l'épochè” by Jean-François Augoyard (1990), the elision, the suspension of perceptual customs, object categorizations and...
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Subash Thebe Limbu (Limbuwan, Nepal/United Kingdom)
“Sound Recordings of Time Travellers” (2025)

This work incorporates both used and unused sounds from the artist’s previous pieces Ningwasum (2021) and Ladhamba Tayem; Future Continuous (2023), as well as materials from unrealized projects. Both earlier works feature time travelers from the Indigenous Yakthung (Limbu) Nation of the distant future: in Ningwasum, Miksam journeys to our...
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Nicole L’Huillier (Chile/Germany)
“Vientos colectivos” (2025)

La Orejona interacts with phenomena such as sound waves in the air, caresses from the wind, tremors from the ground, and oscillations induced by touch from both human and non-human entities. In contrast to regular modern microphones that are made to target individual signals, La Orejona operates with the purpose of weaving independent signals into a collective and insepara...
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Okui Lala (Malaysia), Ana Estrada (Mexico/Australia), and Nasrikah (Indonesia/ Malaysia)
“Re-Listening Care” (2025)

"Re-Listening Care" revisits "Re-Imagining the Workplace" (2024), a live performance created by Okui Lala, Ana Estrada, and Nasrikah, in collaboration with caregivers Uli, Arni, Ryanie, Diane, Leeanne, Madison, Rosie, Dipin, and Khushi. Originally performed on December 1, 2024, at QAGOMA (Australia), the event brought t...
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LSAC (Lagos Sound Artists Collective) (Nigeria)
“Perceptions” (2025)

In some parts of the world, thousands of children are exploited in illegal operations, particularly in the extraction of cobalt, gold, and other valuable minerals that are crucial for global industries, including electronics and electric vehicle batteries. However, much of this mining occurs under dangerous and unregulated conditions and mostly involving child labor...
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Lynn Nandar Htoo (Myanmar/Cambodia)
“Neural Net Nocturne” (2025)

The concept of “home” extends far beyond physical boundaries, encompassing the complexity of memories, cultural touchstones, and deeply ingrained emotional connections. It's the scent of familiar spices wafting through the air, the rhythmic cadence of a native tongue, the shared rituals that bind generations. These intangible elements form the bedrock of identity, ancho...
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Shwe Wutt Hmon (Myanmar/Thailand)
“Noises Are Quite Loud Here” (2023-ongoing)

This project began as a spontaneous response to my transition from urban life, heightening my awareness of nature's subtleties—plants, animals, and landscapes. It also reflects my ongoing exploration of various forms of "NOISE," from the hallucinated sounds I battle to the suffocating



air pollution during Chiang Mai's notorious smog season.

The work consists ...
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Hear & Found (Thailand)
“Earthsong: Indigenous Harmony from Thailand (Nature soundscape from rotation farming at Maeporkee community)” (2024)

Recorded in the Maeporkee community in Tak province, Northern Thailand, this soundscape captures a significant aspect of the Karen people's traditional way of life: rotational farming, a method rooted in regenerative nature and sustainability. Rotational farming involves the Karen people co...
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September 5, 2025 10 mins
MycoDyke (India)
“As Above, So Below” (2025)

This work is an attempt to hold space for ecological mourning. My practice – and my life – is rooted in fungi and decomposition, through which I’ve come to understand death as a transition: a process that nourishes, reshapes, redistributes, regenerates. But in the summer of 2025, Delhi experienced an early and catastrophic monsoon. Trees died in great numbers, leaving behind stumps, sap-dr...
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Mariana Pinto Coelho Dias (Portugal)
“Resonances of an Unheard Body” (2025)

Through sound, bodies expand beyond their visible contours. Following this line of thought, we can say that the “voice” is an extension of our body. This reflection leads us to question the limits of the extension of a human body: how far does a body extend? Who and what are part of it? What are the layers of its existence? Using the principles of Acoustic Ec...
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CHONG Li-Chuan (Singapore)
“On any given day” (2025)

On any given day, a city hums with the sounds of its own forgetting, Hong Lim Complex, once a site of forced separations and uncertain fates, now stands absorbed into daily life. In 1942, it bore witness to selections that determined who would walk free and who would disappear. Given by whom? Taken from whom?

In CHONG Li-Chuan’s “On any given day” (2025), a soundscape composition dr...
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Kaur Chimuk (India)
“Mourn!ng : A fermented ritual for the mundane spirits from Shunyosthan”
Kaur Chimuk in ritual with Amy Singh X Pramukho Rupan X RENU (2025)

Imagine a prolonged absence— perhaps mis/un/post-heard—where Mourn!ng does not arrive all at once, but ferments with pauses from within our most mundane “moments”. This slow fermentation distills time into memory, leaving us curved into a space where amnesia begins to stir. I ...
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Rachel S.Y. CHEN (Singapore)
“my tiny space” (2025) 

What does it mean to connect with another human being? Connection begins with creating a tiny space: a gentle, intentional opening where difference can be held, and lived experiences can meet. This piece gathers intimate sonic traces born from the world of non-speaking autistic individuals and their families. The piece begins with field recordings from the Magical Musical Mat (MMM)...
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Florence Cats / Lilja María Ásmundsdóttir (Belgium / Iceland)
“air” (2025)




“air” is part of the triptych air, water, fire, composed by artists Florence Cats (theremin, voice) and Lilja María Ásmundsdóttir (hulda, voice). Finding inspiration in the qualities of the natural elements, the new duo explores a wide range of frequencies, hybridizing electronic sounds and strings with breath and whistle.

“I was in Reykjavik in November ...
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