Situaciones de Escucha - aacehmmmmpprv grupo de escucha crítica

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“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 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.

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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 Ecology, and considering the human body as an undiscovered soundscape, the piece “Resonances of an Unheard Body” aims to highlight the relevance of 'sound' and 'listening' in perceiving the invisible layers of our existence. The aim is to question the conventional limits of the human body, making it collective, interconnected and permeable to others and to the sound environment that surrounds it. In the same way, this work investigates the relationship between the body and technological devices for capturing sound, as a fundamental factor in expanding our perception of the world. Technology is the resource that allows us to discover and navigate through all the layers of a body’s existence, combining and balancing them. Through it we can realize that, even though we are apparently nowhere, we can be everywhere our body extends. A body that has a plastic structure and behaves like water, changing its shape and adapting to the conditions that nature provides. * 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 Reseach 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”.

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How can sound or sound play conjure memories or re-materialize feelings of a place? Inspired by the childhood experiences of a resident from the local Hakka village of Chuen Lung in Hong Kong during the 60s and 70s, this work explores his young life among natural and man-made elements, such as a stream from Tai Mo Mountain, a hill road full of wind and pine, and the surroundings of a graveyard. For city dwellers, the ability to interact, play, and sense various species seems lost. Can we reclaim this openness as a resistance to homogenized urban life? By taking sound as a carrier to weave together the past and present, and as a way to participate in the village memory, I use field recordings to document and reassemble Chuen Lung village. This includes searching for hints, creating games, playing, and wandering to elicit new reactions. The editing process acts like a recurring sound play, evoking ghostly childhood memories. * 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.

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“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 when I received the invitation to take part in the biennial. I immediately had the vision of recording outside, the space, the whistling silence of the air. Air carries sound, air is the medium of sonic vibrations and, somewhere, we breathe sound every day. My first intention was to make field recordings, but it was very windy and my cheap equipment wasn't suited to the weather conditions. I was also fascinated by the way Icelanders internalize the vastness of the open air, one can feel it in their gaze, art and music. Having attended a concert by the musician and artist Lilja María Ásmundsdóttir, I felt a direct resonance and offered to collaborate with her on my next visit. When I returned in February we played together and the connection proved to be sensitive, musical and telepathic. We decided to work on a tryptic, drawing inspiration from the energies of air, water and fire that shape Iceland and correspond in us to the three alchemical foci. I'm also an acupuncturist, placing needles at precise points on the body to attune inner energy movements to celestial and terrestrial flows.” * 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. She is also acupuncturist and art curator. 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.

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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 drawn from field recordings at Hong Lim Complex, history and the present converge through listening. The act of composition is an excavation — unearthing traces of a site repurposed and redeveloped. His grandfather’s story of a naive escape from death lingers within the work, folded into the city’s soundscape. We are the inheritors of those who survived. To hear is to resist forgetting. To sound is to remember those who have given us the day. * 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.

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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. Some call it Essential or Unavoidable reality of the global supply chain because they believe that Certain evils should be maintained because eliminating them would challenge the status quo. Are we saying that some communities should keep suffering and impoverished for some other communities to usurp power? Contributing Artists: Ibukun Sunday, Michael Akinyele, Babatunde Goodluck, Esther Essien, Olatunde Obajeun and Tosin Oyebisi. * 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 multisensory 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.

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Written as a reflection on masculinity, the song is about a person scouring for themself in a straw hut they have built. The song, in Bhojpuri language, explores Nirgun: a form of thinking and singing (an art form and a philosophy). Briefly put, Nirgun is to recognize the world and things as ungraspable, and thus, to practice intelligence (and intelligibility) via materiality and experience. This original song is part of a theatre production, a musical titled Lattar [vine] which explores the lives of Naach or Launda Naach artists, infamous in this patriarchal and castefeudal world for their practice of men becoming women. The song is performed (vocals and music) by Sunaina, a retired Launda Naach artist, and written by Raju Ranjan, a theatre professional and singer-performer, in collaboration with Piyush Kashyap, an independent researcher and artist. Lattar was commissioned by Maraa: a Media and Art Collective based in Bangalore, India for their 2024 October Jam titled “Stone Flowers”. zeropowercut also thanks Sipahi, a Naach artist and co-member of Lattar team, and Puneet, who generously provided shelter and food during the making of Lattar. * zeropowercut makes art to locate how oppression hides in the mundane. They talk about selfabjection and dissociation, focussing on the aspects of caste-based oppression {sudra-fication} that erases, 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 makes works individually as well as collectively, often transforming sites of production as intersections of otherwise segregated socialities and cultures. 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.

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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 inseparable noise, a thick mass of convoluted muddy sound. La Orejona is a microphone of noise, a rubbery listening apparatus that centers on the poetics of unintelligibility. It is not intended to be a precise measurement device, on the contrary, it is a device for confusing signals, fuzzing, mixing up, and obscuring. By doing so, La Orejona aims to explore the world through a vibrational logic in order to fuzz the rigid paradigms and lines that delineate our imaginations. This is an invitation to pay attention to other codes so we can rearticulate our relational ways and the narratives that define us; so we can tune into our vibrational realities. La Orejona, enabled a mobile and outdoor recording studio for socio-natural arrangements and collective improvisation sessions through different processions and collective sessions that invite for vibrations and interaction with the audience, resonances from the spaces it transits in, sounds from the place, the wind of the place, voices, wind instruments, synthesizers, touch from trees and plants, the waves from the water, and other entities and vibrational forces around her. This piece was composed using as a source the recording from a collective improvisation procession with La Orejona (XS) – who served as a mobile recording membranal studio. This session took place indoors and outdoors on a rainy and windy night in November 2023 at Morphine Raum in Berlin as part of the Radical Sounds Latin America Festival. Infinitas gracias a todxs por resonar con nosotras y activar en conjunto una ruidosa comunidad en movimiento. * 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.

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