In 2024, I was lucky to spend a month living in Venice as part of the British Council's Venice Fellowship scheme. Alongside shifts invigilating the British Pavilion, housing John Akomfrah's Listening All Night to the Rain, I worked on a personal project related to my research into listening. 

For Adriano Pedrosa, the first Latin American and openly queer curator of La Biennale di Venezia, ‘amplifying marginalized voices’ was central to his vision for the 60th edition of the Biennale. As I explored each exhibition, I searched for clues about how this ‘amplification’ was enacted. I noticed many references to listening within curatorial texts, and paid particular attention to who was listening, how they were listening, and in what contexts. I wondered what this listening turn might signify.