ISBN: 978-3-9827721-0-3
17 x 24 cm (softcover)
192 pages
Published: November 2025

Miguel Buenrostro is a Tijuana-born artist and filmmaker based in Berlin. His work delves into the intersections of art and territory, emphasizing aural dimensions within a cinematic practice. His mediums include cinema and sonic interventions in public space. He is the initiator of Cosmoaudiciones, a sonic research project that reimagines the sound documents of ethnographic collections through collective listening, musical improvisation, and artistic dialogue. Buenrostro has showcased his work in the Biennale Architettura di Venezia, the Bauhaus Museum, Musée National de la rd Congo, Konsthall C, Stockholm, and Museo Casa Lago, cdmx. His films have been presented in various international film festivals, exhibitions, and public screenings.

Wanda Canton is passionate about abolitionist politics and the significance of musicking. She completed her phd in 2025, critically examining concepts of the community and its capacity to reproduce forms of power and policing. She is the Founding Director of Sonic Rebellions, an international network of artists, activists and academics exploring the relationship between sound and social justice. She edits the Sonic Rebellions book series under Routledge. Wanda’s other published works and presentations challenge the criminalization of rap music whilst championing the significance of rap and spoken word for recovery from trauma, drawing on her experience as a mental health practitioner.

Rebecca Collins was an award-winning artist researcher working at the intersection between contemporary performance and sound. Her main research interests focused on listening, performance, sound studies, and creative/critical writing. Rebecca’s practice addressed the dynamics of the sonic operating within specific environments and technologies, to explore methodologies of writing, making contemporary performance and sound art. Her first album Stolen Voices was shortlisted for a New Music Scotland Award in 2021. Her first book publication Sonic Detection: A Polygraph, co-authored with Johanna Linsley, is forthcoming with punctum books (2025). She was co-convenor of the Documenting Performance working group for Theatre and Performance Research Association (tapra). Since 2017 until her passing in 2024 she worked as Lecturer in Contemporary Art Theory at Edinburgh College of Art, University of Edinburgh. In 2022 she was ift’s Artist-in-Residence, where she carried out the project Parameters for Understanding Uncertainty. For 2024 she was awarded a Ramón and Cajal Fellowship at the Spanish State Research Council working with the Visual Culture and History of Art Research Group at the Institute of History, Madrid.

Henry Ivry is Lecturer in 20th and 21st Century Literature in the School of Critical Studies at the University of Glasgow. His work sits at the intersection of sound and literary studies, the environmental humanities, and Black Studies. He is currently working on a monograph detailing the political, aesthetic, and acoustic life of infrastructure in African American literature.

Nanna Hauge Kristensen is a Copenhagen-based anthropologist and audio creator working at the intersection of art, ethnography, and audio documentary. Her practice is grounded in a deep interest in themes of listening and loss. As both a maker and a listener, she is drawn to intimate, sensory, and open-ended explorations of human experience. Her audio pieces have been featured on bbc, Danish Radio, and other platforms, and have received numerous international awards. She is currently conducting a sound ethnographic project exploring the continuing bonds between the living and the dead.

Brandon LaBelle is an artist, writer and artistic director of The Listening Biennial. His work focuses on questions of agency, community, pirate culture, and poetics, which results in a range of collaborative and extra-institutional initiatives, including: Beyond Music Sound Festival (1998–2002), Surface Tension (2003–2008), Dirty Ear Forum (2013–22), The Imaginary Republic (2014–19), The Living School (2014–16), Oficina de Autonomia (2017–pres), Communities in Movement (2019–23), among others. In 1995 he founded Errant Bodies Press, an independent publishing project. His publications include Poetics of Listening (2025), Dreamtime X (2022), Acoustic Justice (2021), The Other Citizen (2020), Sonic Agency (2018), Lexicon of the Mouth (2014), Diary of an Imaginary Egyptian (2012), Acoustic Territories (2010, 2019), and Background Noise (2006, 2015).

Margarida Mendes holds a phd in Research Architecture by Goldsmiths University of London. She is a researcher, curator, artist, and educator, exploring the overlap between critical ecology, research methodologies, sound practices and ecopedagogy. She creates transdisciplinary forums, exhibitions and experiential works where alternative modes of education and sensing practices may catalyse political imagination and restorative action. She is a tutor in the geo-Design Masters at the Design Academy Eindhoven and a member of Natural Contract Lab, a transdisciplinary collective of lawyers and artists working on restorative justice and nature rights across Europe.

Sara Mikolai is a choreographer, dancer, interdisciplinary artist, and researcher based in Berlin and Sri Lanka. Her work activates sensory experiences through live performance, encompassing dance, performance, and sound. She also expands her explorations of dance into video, installation, and writing. Sara’s artistic foundation is deeply rooted in her engagement with Bharatanatyam, which she has studied under her mother within the Tamil refugee-migrant community in Berlin since early childhood. Since 2015, Sara’s practice has evolved to explore dance through a listening practice, through which she examines the relationship between dance and music, movement and sound. Sara’s work has been shown in various contexts, including The Venice Biennale (public program, Italian Pavilion), Tanztage Festival at Sophiensaele, Hamamnes at Wiener Festwochen & Kampnagel, The Listening Biennial, Australian Center for Contemporary Art / Liquid Architecture, Shakti Colombo Dance Platform, Gangwon Triennale, Le Alleanze dei Corpi Festival, Sa Manifattura Theatre, among others.

Mhamad Safa is a London-based sound artist and architect whose work explores the intersection of multi-scalar spatial conditions and their sonic make-ups. His practice addresses the aural impacts of armed conflicts, shock and the aftermath of violence. He graduated from the Centre for Research Architecture at Goldsmiths University in 2019 and received his PhD in Law from the University of Westminster in 2024. He is an Associate Lecturer in Architecture and Media Studies at the Royal College of Art in London.

Luísa Santos Ph.D in Culture Studies by the Humboldt & Viadrina School of Governance, in Berlin, and m.a. in Curating Contemporary Art by the Royal College of Art, in London, Luísa Santos is an Assistant Researcher, in Culture Studies / Artistic Studies, since 2016 at the Faculty of Human Sciences of the Universidade Católica Portuguesa. An independent curator since 2009, she conducted research in curatorial practices at the Konstfack, in Stockholm, in 2013; since 2019, she is a research fellow at The European School of Governance (eusg), in Berlin; and, since 2023, she is a teaching fellow at the Europaeum, in Oxford. She is the artistic director of the 4Cs: from Conflict to Conviviality through Creativity and Culture, the Arctic Routes, Southern Ways, and the Institution(ing)s.

James Webb was born in 1975 in Kimberley, South Africa, and lives in Stockholm, Sweden. His work has been described as exploring the nature of belief and dynamics of communication in our contemporary world, often using found objects, sound, and text to achieve these aims. To date, he has had solo exhibitions at the Art Institute of Chicago, usa; Yorkshire Sculpture Park, uk; Liljevalchs Konsthall, Sweden; Hordaland Kunstsenter and Kunsthuset Kabuso, Norway; and the Johannesburg Art Gallery, South Africa. Selected group exhibitions include the 8th and 16th Lyon Biennales, 13th Sharjah Biennale, 13th Havana Biennale, 4th Prospect Triennial of New Orleans, and the 55th Venice Biennale. His work is represented in several notable public and institutional collections, including the Art Institute of Chicago and Smithsonian National Museum of African Art, usa; Tate Modern, uk; maxxi, Italy; the Khalid Shoman Foundation, Jordan; and the Kadist Foundation, France & usa.

The Listening Biennial Reader, vol. 2: Infralistening
Edited by Rebecca Collins & Brandon LaBelle

Following an edition of The Listening Academy held in Bergen, Norway, the second volume of The Listening Biennial Reader brings together contributions from researchers, artists, educators and organizers involved in a range of pertinent initiatives and practices. Framing the publication is the concept of Infralistening which is put forward as a creative, critical methodology. Infralistening is figured as a way of listening-into particular issues, histories, and urgent realities; it is a listening that comes up from below, that shadows certain territories, that wraps itself around sites and struggles, giving momentum to action and intervention. As the essays, interviews, projects and proposals presented in the Reader demonstrate, listening not only enables ways of building community, it moreover aids in fostering practices concerned with reworking dominant knowledge regimes: to foster transdisciplinary meeting points, holistic understandings, and forms of activism by way of an acoustic approach. This allows for critical arguments, engaged work, and poetic research in support of a vitalist, affirmative politics.

Including contributions from Miguel Buenrostro, Wanda Canton, Rebecca Collins, Henry Ivry, Nanna Hauge Kristensen, Brandon LaBelle, Margarida Mendes, Sara Mikolai, Mhamad Safa, Luísa Santos, James Webb.