The Listening Biennial – Exhibition

The Listening Biennial

A two-day exhibition

September 12-13th, 2025

Open Friday 16-21 and Saturday 11-20

Simian, Kay Fiskers Plads 17, 2300 Copenhagen (DK)

Free entry

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), Niels Lyhne Løkkegaard (Denmark), Ilaria, Gadenz (Italy), AGF (Antye Greie-Ripatti, Germany/Finland).

The international exhibiting artists of The Listening Biennial are curated by Alecia Neo, Soledad García Saavedra, Suvani Suri with Brandon LaBelle.

The additional artists, programming and activations for the programme at Simian are curated by Bureau for Listening.

The Listening Biennial unfolds for its third edition, manifesting in Copenhagen through a two-day exhibition at Simian, an art center situated underground in the neighbourhood of Ørestaden. This iteration invites audiences into a carefully composed environment for Third Listening—a practice of shared attention that values slowness, presence, and thick relationality.

More than a traditional exhibition, the program unfolds as an embodied listening journey, presenting one work at a time to create space for deeper engagement and collective reflection. Across two days, the underground spaces of Simian will host a constellation of audio works, films, workshops, and talks, each introduced and grounded before being experienced together. Following each presentation, participants are invited into different forms of discussions, activations, or collective exercises, transforming listening from a passive act of reception into a generative, participatory encounter.

The Listening Biennial operates on the belief that listening is not only an aesthetic act but also a social, political, and ecological one. By slowing down and attuning to different temporalities, languages, and modes of attention, the program creates a temporary commons where voices, environments, and bodies resonate together.

Featuring artists from across the globe, the works presented weave multiple geographies, histories, and sonic practices into an evolving field of shared presence. Through these situated experiments, the Copenhagen edition of the Biennial contributes to an ongoing international dialogue about how listening might expand our ways of relating—to each other, to place, and to more-than-human worlds.

The final programming and order of presenting the works over the two days festival will be announced the day before, Thursday the 11th.

Acknowledgements

As we bring this third edition of The Listening Biennial to life at Simian, in Copenhagen, we wish to offer our deepest gratitude to all who have supported, contributed, listened, and persisted with us. This exhibition is more than a gathering of works—it is a shared labour, carried through by generosity, trust, attention, and the belief in what can be made possible beyond formal conditions. 

The practice of acknowledgement is a difficult one, as it so easily exposes oneself of one’s blindness, assumptions, and lack of recognition–to all what we don’t voice, but still depend on, thank you for supporting us! 

We especially want to thank Simian—for their help, their trust, and their willingness to make space for this experiment; for sharing their equipment, for help with setting-up, painting etc. truly amazing, and we are very grateful! In this regard, Simian’s underground halls, their architectural and acoustic generosity, has been much more than just a venue. Thank you!

Also, thank you Nana Francisca Schottländer for the borrowing of mats, especially made for resting and listening bodies, and to Dalga for helping adjusting the sound.

Working without formal funding frames everything we do is done with different degrees of precariousness: uncertain resources, fragile time, stretched means. We have to adapt, and again and again remind ourselves of what it is that is a meaningful part of the project for us to pursue and spend our time and resources on doing. But it is precisely in this precarious condition that the exhibition becomes more meaningful. Every piece of labour—every hour, conversation, installation, field recording, walk, film, workshop—shines brighter because it has been given in trust, care, and commitment, rather than as a task merely bound to paid commission. We need money to survive in the societies we live in, but before all need to create and share our creations! We are very thankful to the whole ecology and network of The Listening Biennial; not only to the framework and the works themselves, but also to the momentum, the thickness, and wonders and questions, that it brings with it knowing, without knowing exactly, that others around the world are doing it too; are listening, connecting, making it happen. We are great together!

We also want to honour what is absent: the voices, sounds, stories that we could not reach, the contributions we could not invite, the works that could not be made because time, means, or connection were lacking. May we allow their absence to remind us of the work yet to be done, of the listening we have not yet stretched ourselves to hold.

Extended bios, notes and sound pieces

(only available for a limited time during the exhibition)

The Listening Biennial is an international artistic and research initiative that highlights listening as a relational capacity—a philosophical, political, creative, and research-driven practice .

The Biennial operates as a decentralized global platform, commissioning audio works, performances, and discursive programs across cities. Embracing radical empathy, ecological attunement, sonic storytelling, and interspecies dialogues, it asks: how can listening dismantle exclusion, human exceptionalism, and entrenched power structures?

Since its launch in 2021, The Listening Biennial has grown through local “manifestations” with partner venues and institutions. It also runs the Listening Academy, a series of workshops and seminars on listening as creative practice, in cities like Berlin, Delhi, Hong Kong, and Skopje.

Under a network of artists, curators, scholars, and collectives, the Biennial fosters an ecology of attention, encouraging participatory, attuned, and diverse listening cultures worldwide.

Simian is an independent art center in the district of Ørestad in Copenhagen, Denmark, founded in 2020. As a non-profit organization, Simian aspires to support and present experimental exhibition projects by national and international artists from emergent and established positions. Housed underground in a former bicycle parking facility, Simian offers a distinctive architectural and acoustic context for contemporary art.

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We will add different forms of documentation to this site as it is gathered and composed.

Photos of the ‘listening site’:

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Different documentation photos from the two-days:

After the screening of AGF’s film ‘Wind as Context’ we performed AGF’s accompanying score: wind imitation (see below)

Artists/contributors:

Florence Cats/Lilja María Ásmundsdóttir

Florence Cats’ work evolves between sound, music, poetry and visual art. Her research concerns the elusive, in relation to perception and notation. She plays the theremin experimentally, interacting with voice, breath, water, radio and tiny handmade instruments. In 2023, she was selected as a Belgian emerging sound artist. Her releases are based on field recordings, resulting from free processes, open to nature or to other artists: shell I (Ediçoes CN, 2025), Ys (2022), We are now approaching Mo i Rana (Ftarri, 2024) and Correspondances (Frissons, 2021). She was part of The Asocial Telepathic Ensemble (Corvo Records, 2021) with the piece In the air. She is also an art curator and acupuncturist. Lilja María Ásmundsdóttir is an artist, composer and performer from Iceland. Her practice is centered on explorations of collaborative creativity. Working with sculptural elements of sound and matter, she creates installations, audio-visual pieces, and performances. The works are actively designed to facilitate continuous processes that highlight how ideas surface from correspondences with materials, between individuals, and in context to one’s surroundings. Her works include the sound and light sculpture Hulda which was nominated for the President’s Student Innovation Award, and the living sound sculpture Lurking Creature which she developed in collaboration with the dancer Inês Zinho Pinheiro.

Rachel S. Y. Chen

At the core of Rachel S. Y. Chen’s work is a deep inquiry into human connection: the sharing of presence with others in ways that are authentic, embodied, and inclusive. Through art, design, and research, their practice is grounded in the belief that intimate connection does not require sameness, speech, or convention. Instead, true connection thrives in spaces where difference is welcomed, and where people listen deeply. Through sound, movement, and improvisation, Rachel creates environments where people can meet one another beyond words. Drawing from their research on the social lives of the neurodivergent community, as well as their love for sonic improvisation, Rachel designs environments that offer gentle invitations to explore intimacy, play, and co-creation. In these spaces, sound and movement become playgrounds for collective improvisation. Rachel believes that even the most divergent worlds can find harmony. Their work invites people to step beyond the familiar, to listen closely, and to co-create new ways of belonging.

Kaur Chimuk

Kaur Chimuk (they/yellow), a trans-binary person engaging with subversive artistic research as a tool for cohesive negotiations around performative temporal representation. Based primarily in South Asia, they work extensively across India and Bangladesh while maintaining an operational base in Sweden. Major working collaboration with Meteor International (Swedish artist network), intrans aka intersectional network for transglocal solidarity (a co-op network between Mexico-India-UK) and zmayat (open-source co-op between Bangladesh and India). Currently kaur is engaging with A South-Asian Queer Pamphlet, which began as a durational curatorial research project focused on glossaries related to transition; over time, it evolved into an immersive, post-cinematic transdisciplinary archive.

// with allies

Amarpali Singh / Amy Singh

A poet, performer, and writing facilitator from India, her work explores themes of memory, resistance, longing, and love—often through the lens of Partition, feminism, and inherited silences. She writes in Hindustani, Panjabi, and English, and uses poetry as a medium to connect, remember, and rebuild.

Pramukho Rupan

Observing their journey from classical rewaj to challenging institutional frameworks around notions of ‘good’ and ‘bad’ within the musical fraternity. Pramukho Rupan is primarily engaged as a musician, producer, thinker, and sonic explorer—a practitioner whose formal training spans two decades. Now, they are curious to evolve beyond traditional structures, seeking harmony between everyday music and interpersonal sonic memory.

Renu Hossain/RENU

RENU is a London-born, Bengali heritage, outernational interdisciplinary artist. She is an Experimental/Electronic/Ensemble Composer & Producer, tabla-player, percussionist and curator.

Chokeladde

We have a map, we have the inroads, we go in, come out and roll in between the two and you will never find out.  Čhokkelad (wounded in Kashmiri), often used in the local news broadcasts when referring to victims of violent events. Payam e Chokkelede gathers the sounds produced while the acts of violence continue to unfold into the everydays. It’s news time.

Čhokkelad is eternally grateful to everyone who contributed to this project through equipment, care, time, effort and attention, and would like to credit Mu, Hi, U, E, Mo, Bu, Mukh, Ha, Ga, Sib and Eh.

CHONG Li-Chuan

CHONG Li-Chuan (b.1975) is a Singaporean composer passionate about philosophy, culture and the arts. Li-Chuan’s career in music and sound started in the late ’90s, working as a composer and sound artist collaborating with practitioners in theatre, dance, spoken word, architecture, filmmaking, design and visual art. His creative output includes music composition, sound design, field recording, soundscape composition, site-specific art, installation, free improvisation, and collaborative work exploring conversations between different modes of expression and the poetics of sound.

Mariana Pinto Coelho Dias

Mariana Pinto Coelho Dias is a Portuguese transdisciplinary artist, with artistic work in the field of sound art, experimental video, performance art, and audio-visual installation. Focused on sound studies, more specifically in the Acoustic Ecology, her work is prompted by the desire to contribute to balancing the weight between “sound images” and “visual images” in our perception of the world. She is currently a PhD candidate at the University of Fine Arts in Lisbon (FBA-UL), a research fellow from The Foundation for Science and Technology (FCT), and a member of The Artistic Studies Research Center (CIEBA). Exploring the practices of videoperformance and soundscape composition, she is developing an artistic research project entitled “Anthropophony: listening to the soundscape of an ‘expanded (human) body’ through videoperformance practices’”, which seeks the possibility of a consistent engagement between “visual” and “sound images” for the perception of an “expanded (human) body”.

MycoDyke

MycoDyke is the fungal alter of Malavika Bhatia, a self-taught field mycologist, artist, and community facilitator. Through their engagement with fungi, they weave together ethnomycological research, community-based practices, and theoretical frameworks to reimagine relationships to place, community, and the more-than-human world. Their living installation ‘Rot & Rapture: Decomposing Binaries’ at Gender Bender 2024 combined fungal cultures with prose and poetry, guiding audiences through intimate dialogues with fungal bodies to examine dissolution as a pathway to fluid states of being. Their art books, including “Fungal Hermeneutics: (De)Compositions in the Academic Forest” and “The ‘Other’ Underground: A Zine of Fungal Queeriosities,” transform academic concepts into affective narratives that propose alternative understandings of queerness in ecology. Drawing on mycelial networks as both metaphor and method, they have developed participatory experiences at Science Gallery Bengaluru, Kiran Nadar Museum of Art, Serendipity Arts Festival, and others, challenging conventional narratives about ecology, community, and belonging.

Hear & Found

Hear & Found, a sound collective co-founded by Thai artists Ms. Sirasar Boonma and Ms. Pansita Sasirawuth, was established in Thailand in 2018. Driven by a passion for amplifying marginalized voices, primarily within Thailand, the team creates immersive installations and field recordings to bridge cultural gaps and foster understanding. Their work centers on ethical collaboration with indigenous communities, preserving unique soundscapes and musical traditions. Focusing on sustainability and cultural identity, Hear & Found blends artistic innovation with social impact. They document and share often-overlooked sonic narratives, promoting empathy and awareness. In these six years, their projects have created accessible platforms and reached more than 250,000 people worldwide, working with more than seven ethnic groups and involving over a hundred individuals from these ethnic groups, ensuring that indigenous voices and their rich cultural heritage are heard and celebrated by contemporary audiences.

Shwe Wutt Hmon

Shwe Wutt Hmon is a photographer and mixed media artist from Myanmar, currently based in Thailand. Shwe’s work focuses on collective histories, familial ties, the knots and threads of human relationships, and exploring the inner psyche through intimate storytelling about people and places dear to her heart. She tells personal stories to connect with and examine broader social aspects; conversely, she works on social documentaries reflecting and drawing from her own position within the context. Shwe uses photography as her main medium and incorporates archives, videos, texts, sounds, poems, paintings, and drawings of her own or in collaboration with others. Shwe’s works have been exhibited in festivals and spaces such as Kochi-Muziris Biennale 2020, Aichi Triennale 2022, Thailand Biennale, Chiang Rai 2023 with ‘Zomia Pavilion’, Singapore International Photography Festival 2020, Photo Australia International Festival of Photography 2022, ArtScience Museum Singapore, Bangkok Art & Culture Centre, Photoforum Pasquart, and Foam Amsterdam.

Lynn Nandar Htoo

Lynn Nandar Htoo a.k.a LnHD is a sound designer, music producer, and DJ originally from Myanmar and now based in Phnom Penh. Named Goethe’s Talent 2024, she has brought her minimalistic and percussive Southeast Asian experimental club sound to international stages, including Berlin’s Pop-Kultur Festival. She has performed in clubs & festivals across Southeast Asia in cities like Yangon, Saigon, Bali, Jakarta, Kuala Lumpur, Hanoi, Bangkok, and Phnom Penh. Her work explores the intersections of identity, culture, and sound, with releases like Jamadevi on the acclaimed Indonesian label Yes No Wave and SLAVE INSTINCTS on ALIGN.ONLINE, a platform celebrating femme and queer voices in Southeast Asia. As the winner of Radio Lab, LnHD continues to redefine boundaries in Southeast Asia’s electronic music scene and she has performed at the renowned CTM Festival, further establishing her reputation as a rising force in the global experimental music scene.

Lagos Sound Artists Collective

Lagos Sound Artists Collective (LSAC), is an unconventional movement dedicated to reshaping the landscape of auditory experiences through innovative sound exploration. LSAC is committed to fostering a vibrant community of sound artists from Lagos and beyond, while pushing the boundaries of art performance. Through participatory workshops, immersive installations, and spontaneous sonic happenings, LSAC aims to engage audiences in a multi-sensory exploration of sound. Some of our recent works and gatherings are: Sonic Flux: an afternoon of experimental sound in collaboration with Art Twenty One gallery Lagos 2023. Ideas Lab: a dynamic studio designed for diverse performances and experimental works. Co-curated for Afropolis Lagos 2024. Echoes and Balance: An immersive experience where sound meets personal well-being in collaboration with J Randle Centre Lagos 2025.

Okui Lala, Ana Estrada, and Nasrikah

Okui Lala, Ana Estrada, and Nasrikah work together across countries meeting online to exchange ideas and develop projects centered in dialogue, storytelling, and social justice. Okui often collaborates with family, friends, workers, and those around her to explore identity, diaspora, and belonging. Ana works with aged care residents and caregivers, exploring storytelling as a tool for connection. Nasrikah, the founding member of PERTIMIG, advocates for the rights of Indonesian domestic workers in Malaysia. Their collaboration is driven by a shared commitment to care, equity, and collective action—along with a genuine enjoyment of working together!  Beginning with Re-Imagining the Workplace (2024) and continuing with Re-Listening Care (2025), they create spaces for conversations that challenge and reflect on systems of labor and care.

Nicole L’Huillier

Nicole L’Huillier is a transdisciplinary artist and researcher from Santiago, Chile. Her practice centers on exploring sounds and vibrations as construction materials to delve into questions of agency, identity, collectivity, and the activation of a vibrational imagination. Her work materializes through installations, sonic/vibrational sculptures, custom-made (listening and/or sounding) apparatuses, performances, experimental compositions, membranal poems, and writing. She holds a Ph.D. in Media Arts & Sciences from MIT (2022). Her work has been shown at the 60th International Art Exhibition – La Biennale di Venezia (2024), Kunsthalle Bern (2024), Ming Contemporary Art Museum (McaM), Shanghai (2023), ifa-Gallery Stuttgart (2023), Bienal de Artes Mediales Santiago (2023, 2021, 2019, 2017), Staatliche Kunsthalle Baden-Baden (2022), Transmediale, Berlin (2022), Ars Electronica, Linz (2022, 2019, 2018), Museo de Arte Contemporáneo (MAC), Santiago de Chile (2022), 6th Ural Industrial Biennale, Ekaterinburg (2021), and 16th International Architecture Exhibition – La Biennale di Venezia (2018), among others.

Subash Thebe Limbu

Subash Thebe Limbu is a Yakthung (Limbu) artist from Yakthung Nation (Limbuwan), located in present-day eastern Nepal. He works with sound, film, music, and painting. His Yakthung name is ᤋᤠᤱᤛᤠᤱ Tangsang (Sky). Drawing from socio-political issues, resistance and science/speculative fiction, his works engages the notion of time, climate change, and indigeneity through the critical lens of Adivasi Futurism, a framework he has been developing over several years. His recent projects, Ningwasum (2021) and Ladhamba Tayem; Future Continuous (2023), have been presented at major international platforms including Tate Modern (London), the Asia Pacific Triennial (Brisbane), and the Sharjah Biennale (Sharjah), among others. Subash is a co-founding member of Yakthung Cho (Yakthung Art Society), and is currently based between Kathmandu (Newa-Tamsaling) and the United Kingdom.

Elena Lucca

Elena Lucca is an artist and environmental educator. She holds a Ph.D. from the University of Avignon, France, in Space, Time, and Power, Cultural Practices. She has worked as an environmental educator at both Argentine and Italian universities. Since 1990, she has served as a guest lecturer at the CAIRH – Roy Hart International Artistic Center in France. Since the 1960s, Lucca has explored experimental poetic forms, notably through video art presented in various countries. She also organized the Jornadas Internacionales de Poesía (JOPOE) for the National University of the Northeast (UNNE) in Chaco in 1969, and in 1971 co-curated the International Exhibition of Proposals to Be Realized with Edgardo A. Vigo for the CAYC – Center for Art and Communication in Buenos Aires. Drawing on her experiences working in and with forest communities, Lucca has developed an environmental experimental poetic line known as Geopoetry of the Spaces We Inhabit. This work has been featured in exhibitions including: The Re-enchantment (2016), Timeless Spaces: An Ecopolitical Poetics of the Places We Inhabit (2019), The Space We Inhabit: Earth (2021), The Space We Inhabit: Air (2021).

Imaad Majeed

Imaad Majeed is a multidisciplinary artist, curator and writer based in Colombo, Sri Lanka. They are Director and Curator of the trilingual performance platform “KACHA KACHA”. They are one part of the artist collective “The Packet” and VJ/DJ of “Packet Radio” (SUPR FM). They are Project Coordinator and Co-Curator of Thattu Pattu, a platform for music from the fringes of Sri Lanka. Their poetry has been published in “Out of Sri Lanka: Tamil, Sinhala and English poetry from Sri Lanka and its diasporas”, “CITY: A Journal of South Asian Literature”, as well as the local small-press chapbooks “Lime Plain Tea” and “Annasi & Kadalagotu”. Their artwork, in various mediums, has been featured at Tamil Studies Symposium, Queer Tamil Collective, Colomboscope, Chobi Mela, Queer Arts Festival, Serendipity Arts Festival, Museum of Modern and Contemporary Art Sri Lanka, BuchBasel, and Spielart Theatre Festival, among others. They are presently working on “KANNOORU”, exploring Sri Lankan Sufi/Muslim identity, community, memory, erasure, ancestry and mysticism through sample-based music.

Yara Mekawei

Yara Mekawei is a sonic artist and scholar exploring the intersection of sound, architecture, and urban landscapes. Her work transforms the rhythm of cities into immersive auditory experiences, where sonic narratives merge with visual form. Rooted in deep research, Mekawei bridges antiquity and modernity, drawing from Sufi philosophy and The Book of the Dead to craft compositions that resonate with memory, identity, and cultural heritage. Her practice dissolves boundaries between past, present, and sonic visions.

Graciela Muñoz

Graciela Muñoz (Chile, 1982) is a composer, performer, and researcher, Master in Media Arts and PhD in Philosophy from the University of Chile. She obtained a specialization in electroacoustic composition at the Phonos Foundation in Barcelona. Her work brings together multiple media, spectra, and materialities found in diverse contemporary ecologies. She is currently working on her postdoctoral research project at Parque Omora, located in the sub- Antarctic region of Chile.

Lujáne Vaqar Pagganwala

Lujáne Vaqar Pagganwala is a multidisciplinary artist with a profound affinity towards towers, structures, ladders and the like. She investigates the phenomenology of space, as an idea and as a physical entity. Pagganwala’s practice explores abstract existences on multiple spatio-temporal planes at once, and our omnipresent transience across these spaces. Taking inspiration from childhood spaces as well as urban topographies, she creates hybrid realities that are playful, layered and confrontational. The interactive nature of her practice layers these experiences into an ever-lasting loop of curiosities and becomings. A co-existence of amalgamated energies in flux – a Flash Space, as she refers to them. Pagganwala received an MA in Contemporary Art Practice from Royal College of Art, London, and continues to work mainly between the UK and Pakistan. She has exhibited both nationally and internationally across major institutions like Tate Modern, Copeland Gallery, Canvas Gallery, Koel and many more. Pagganwala witnesses her practice morph and mutate whilst moving between different geographical states. It is a mobile practice, forever in transience, and forever curious.

Amanda Piña

Amanda Piña is a Chilean-Mexican-Austrian based artist living between Vienna and Mexico City. Her choreographic work is concerned with cosmopolitics, including performance, music, video and sculptural works that exist in the context of the theater, the museum and beyond. Piña is a multifaceted artist working through choreographic, performance and dance research, creating, curating and teaching within university and artistic educational frameworks, writing and editing publications around what she refers to as “endangered human movement practices”. Her work is grounded in indigenous forms of knowledge and world making/maintaining practices. Her work has been presented, in theatres, galleries, museums and cultural centers around the world, such as Tanz Quartier Wien, Kunsthalle Wien, MUMOK Museum of Modern Art Vienna, deSingel Arts Campus Antwerp, Fondation Cartier pour l’Art Contemporain Paris, Museo Universitario del Chopo, México and GAM, Santiago de Chile among others. In 2024 she was awarded the Valesca Gert Chair of Choreography at the Free University Berlin.

Ruhail Qaisar

Ruhail Qaisar is an artist from Leh, Ladakh. His current practice revolves around examining threads of local memory, mythos, and poetics through sound art, compositions, and found sculptures. Involved within various cross-genre projects since 2015, his early noise shows all over India are recalled as sonic palate-cleansers. He debuted with his concept album Fatima (2023) dubbed by The Quietus as “haunting”, released on Danse Noire featuring Dis Fig and Elvin Brandhi, with a 48-page photo book publication. The commissioned hymnal piece for Les Urbaines written in collaboration with Gottfrid Ahman and Michael Anklin, Three Hymns of Cruelty (2022), which delved into the dynamics of Ladakhi procession music, was performed at Arsenic in Lausanne. His found footage VHS short film Cenacle 97-98 (2022) was screened at the Zurich Kunsthalle, La Becque, and Gessnerallee Zurich for Parasite O Sinensis. His latest work “Gods Erupt Like Tumors” is a series of found sculptures and a monophonic sound installation on view at the Salts Gallery in Birsfelden, Basel CH. He recently finished his residency in Graz, Styria, preparing a 36 channel third order ambisonic composition, Namkhay Rtsima / The Spine of the Sky, for the Musikprotokoll Festival for ORF (Österreichischer Rundfunk) and the Steirischer Herbst ’24 at the Dom im Berg.

Superlative Futures

Superlative Futures is a transdisciplinary design and research agency in Singapore and is co-founded by Wong Zi Hao and Liu Dian Cong. The research practice centers on creative modes of representation to advocate new ways of seeing landscapes and speculate alternative social imaginaries and futuring practices for cities to relate better with more-than-human worlds. They see their design output as a practice of care. They have exhibited at NUS Museum and were supported by Singapore Art Museum’s inaugural Design Research Fellowship, 2024-2025. Wong received his PhD in Architecture at the National University of Singapore in 2023, having completed a design-led research on intertidal practices of care. Alongside his research practice, Wong teaches at NUS’ Department of Architecture, and the University of Arts (NAFA)’s Design Practices program. Liu currently practices as an architectural designer, after completing his Master of Architecture at NUS in 2024, exploring sedimentation and alternative conceptions of “ground”.

Irazema H. Vera

Irazema H. Vera (Puno, 1983) is a Peruvian artist, musician and musicologist. Her work revolves around memory, music and territory; and spans sound engineering, music production, documentary & narrative podcasts, sound art and research. She uses field recordings and soundscapes as starting points in the different paths of her artistic practice in which memory is expressed through the testimony of the human voice, music and the sounds of vulnerable and transgressed territories. Her compositions include musical traditions and landscapes of the Quechua and Aymara cultures of the Puno highlands where her cultural heritage is from, and has been featured on SONODOC Latin America, Radio AlHara in Palestine, RRFM in Holland, Común Radio in Peru, Cities and Memory in the UK, and compilations from label MATRACA (Peru-Mexico) and Eck Echo (Peru-Berlin).

Valentina Villarroel

Valentina Villarroel is a sound artist and phonographer who explores the intricate dynamics within various southern ecosystems. Her work revolves around the profound potential of acoustic ecology, particularly in the face of encroaching real estate development on natural spaces. She also delves into the consequences of sound pollution on numerous species, contributing to their decline or disappearance. In recent years, her focus has extended to urban soundscapes and significant sonic events, such as the October 18th protest in Chile. She has a solid background in bioacoustics applied to both human and animal well-being. Her albums delve deep into the world of audible and inaudible soundscapes and their ability to give us an alternate knowledge of reality.

YIM Sui Fong

YIM Sui Fong is a Hong Kong-based artist and assistant professor at The Chinese University of Hong Kong whose practice bridges socially engaged art, collective learning, and sound. Through participatory listening environments and sound-based installations, she activates memory and shared agency—drawing on oral histories, minor archives, and site-specific soundscapes. Her work frames sound as both a medium of resistance and a method of collaborative knowledge production. A co-founder of Rooftop Institute, she advocates for art learning as a mode of social engagement. She also serves on the board of HASS Lab, promoting artist-led approaches to social inclusion, and is one of the initiators of Ecologies of Participation, a transdisciplinary platform bridging practice-based creation with civic engagement. Recipient of the Hong Kong Arts Development Award for Young Artist (Visual Arts) and the WMA Masters Award, Yim’s practice exemplifies how socially engaged sound art can catalyze exchange, amplify the underheard, and rehearse new forms of collective memory.

zeropowercut

zeropowercut makes art to locate how oppression hides within the mundane. Their work explores self-abjection and dissociation, focussing on the aspects of caste-based oppression {sudra-fication} that erase, from immediate to historical and civilization fields, working people’s capacity for experience and knowledge. Living and working from hegemonically marginalized and deprived worlds-of-our-origin, zeropowercut creates individually as well as collectively, often transforming sites of production into sites of intersectional agencies. zeropowercut works with everyday objects, sayings, language, sound, and atmospheres to make installations, interactions, songs, theatre and research-presentations, using mostly modes of speech, documentary, and essay.

Niels Lyhne Løkkegaard

Niels Lyhne Løkkegaard (1979) works through a transdisciplinary artistic praxis, spanning from composition and sound art to performance, conceptual- and visual art.

He considers his work to be a basic research in realities and is interested in how bubble-like systems unfold themselves as saturated human conditions

Collisions between individual bodies and bodies of saturated matter are key drivers in Løkkegaards praxis and he’s interested in how to engage this saturated state. Interested in how to soften what has become sedimented – seeking to create ruptures within the saturated.

As a paradoxical strategy NLL often works with how reaching saturation points itself might can work as a counter measure for escaping the saturated- in other words how bodies can be saturated in such a way that they collapse under their own (over)saturated weight and thereby becomes something else through multiplication of single bodies into larger bodies, hyper visiblity etc.

Løkkegaard is interested in the notion of instrumentalization and what the notion of instruments can mean, control and do. Hence he often works with Western (music) instruments not only as sources of sound but also as cultural markers embedded within different systems and hierarchies – all revolving around the focus on how to soften sedimented positions, seeking to create safer environments dissolving shame or trauma, and excrete notions of Western universalism in a process of othering firstness.

Ilaria Gadenz

Ilaria Gadenz is a PhD student in New Media and Critical-Curatorial Practices at the Politecnico delle Arti of Bergamo, an independent audio producer, curator, and researcher with a long-standing experience in the field of experimental radio and sound art. In 2006 she co-founded Radio Papesse and from 2019 to 2024, she co-directed and co-curated LUCIA, an international festival dedicated to collective listening and audio narratives, alongside a wide range of mentoring initiatives. Her ongoing doctoral research, titled Ecologies and Micropolitics of Listening. Collective Practices between Care, Attention, and Publicness, investigates listening as a curatorial and cultural practice able to generate relational publics and alternative forms of attention.

AGF

Antye Greie-Ripatti is a sound artist, composer, poet, feminist, activist. She is also known as AGF, Laub, and poemproducer. Born in 1969, and raised in East Germany, she lives in Hailuoto, the island in Northern Finland. She explores big themes—politics, ecology, feminism, identity—working with language, sound, listening, voice, expressed in audiovisual live performances, digital communication, sound installations, commissions for radio, movies and exhibitions. 

Antye has released 30 long player records, and has been engaged in numerous collaborations with Vladislav Delay, Gudrun Gut, The Lappetites (with Kaffe Matthews and Eliane Radigue), and with the award-winning classical composer Craig Armstrong. 

In 2020 Antye founded RECon (rec-on.org), a sound and listening exhibition space that focuses on political sound and the activist community around it. She has shown her works at the Centre Pompidue (Paris), ICC (Tokyo), ICA London, Ars Electronica Linz, Sonar Festival Barcelona, CTM Berlin and AudioVisiva Milan. 

In 2025, AGF takes part in MOMENTUM, the Nordic Biennale of Contemporary Art 13th edition, as well as “POSITIONING”, A Symposium on Curatorial Thinking in the Nordic-Baltic Region & Beyond hosted by PUBLICS, Amos Rex and EMMA, Espoo Museum of Modern Art, Finland