Bureau for Listening / Sisters Hope Home

The members of Bureau for Listening have had the pleasure of participating as visiting inhabitants at Sisters Hope Home.


This home and inhabitation were senuous and without any digital access or documentation.


Bureau for Listening explored and engaged in different sensuous and performative aspects of listening and offered a reflective silent writing workshop during the stay investigation one’s poetic self’s mode and ways of listening.


We would like to thank all the wonderful people and beings what we encountered during the inhabitation. People who offered us time, space, touch, words, silences, breathing, stregthen and vulnerability  and more what exists beyond our words.


“Sisters Hope Home is 5-year-durational artwork and platform for artistic research. For the next 5 years we will manifest this artwork dedicated to poetic and sensuous modes of being and being together. The project originated from a longing for a venue where we could unfold our performative experiments and works in deeper and more refined versions. Sisters Hope Home is also aligned with our current artistic research on how inhabitation of the sensuous and poetic relates to the understanding of the ecological connectedness of everything.” (Sisters Hope Home)

We find it difficult to share too much of what happened, as the space, the time there and meeting the different people somehow seems sacred to us.

We do therefore not feel the need to share further information, but do encourage everyone interested in learning more of this beautiful project.

It was a poetic and profound learning experience – one that made us wonder upon some of the following questions:

How is listening a poetic practice – and what does it mean that listening manifests itself poetically?


What is the senuous premise for listening?


In what way does digitally matter hinder listening in our contemporary society – and how can we foster non-digital sensuous spaces for listening in the future?


How is listening as a practice influenced by its surrounding social conditions?


When engaging in artistic research, how can we when understand listening as senuous, critical and empathic mode of knowledge production?