Liquid Architecture is an Australian organisation for artists working with sound. LA investigates the sounds themselves, but also the ideas communicated about, and the meaning of, sound and listening.
Our program stages encounters and creates spaces for sonic experience, and critical reflection on sonority and systems of sonic affect. To do this, we host experiences at the intersection of contemporary art and experimental music, supporting artists to produce performances and concerts, exhibitions, talks, reading groups, workshops and recordings in art spaces, music venues and other sites.
Liquid Architecture is curatorially driven and our methodology embraces research, collaborations and imaginations. We want to echo beyond local conversations, problems, debates and questions, to reverberate across media and disciplines, and so to sound out new discourses about the audible world, and beyond.
We acknowledge Aboriginal and Torres Strait Islander people as the first sovereign owners of this unceded country. We pay our respects to their Elders, past, present and becoming.
PO Box 12315
LIQUID ARCHITECTURE SOUND INC
Liquid Architecture (LA) is committed to protecting the privacy and security of personal information obtained and stored about its audience or clientele, including users of this website. We understand and appreciate that our audience or clientele and users of this website are concerned about their privacy and the confidentiality and security of any information that may be provided to us.
HOW PERSONAL INFORMATION IS COLLECTED
LA collects personal information in a variety of different ways depending on the type of contact that is made with the organisation. LA may also collect personal information over the phone, in person or by electronic correspondence in order to undertake its regular administrative operations.
The following are examples of how personal information may be collected by the organisation:
- Subscribing to LA’s e-newsletter via the website, in-person or other means
- Registering for LA’s programs of events (eg. performances, workshops, lectures)
- Purchasing a ticket for LA’s programs of events via a ticketing system
- Making an online enquiry
- Making an individual donation to LA
- Becoming a sponsor
- Submitting a proposal to LA
- Providing written feedback to LA
- If you become a LA Associate, Volunteer or Board Member
WHY PERSONAL INFORMATION IS COLLECTED
LA collects personal information in order to service the needs of its audience or clientele. All details are kept secure at all times and any individual may request their information is not used for direct marketing, research or any other purpose. If you opt-in to become a LA e-newsletter subscriber you are giving us permission to send you information about upcoming programs and services offered by LA and its partners and your details may be retained and used for the following purposes:
- To make recommendations to visitors about other services that LA offers that may be of interest
- Notifying changes of program details
- To market upcoming events
- For market research purposes
- To market online services
vFor such further and other lawful uses in connection with LA’s activities consistent with this Privacy Statement
DISCLOSURE OF PERSONAL INFORMATION
LA will not sell, lend, disclose, or give personal information of its audience or clientele to external individuals or organisations without first obtaining the customer’s consent, unless required by law. LA may, however, contact the audience on behalf of other organisations to offer information regarding their products. These organisations may include, but are not limited to other arts organisations or government departments.
KEEP PERSONAL INFORMATION ACCURATE
LA is committed to ensuring all personal information it collects is accurate, complete and up-to-date. However, the accuracy of this personal information to a large extent depends on the information provided by its clients. LA asks that all clients:
advise us if you become aware of any errors in your personal information.
advise of any changes in their personal details, such as address, email address and phone number.
The LA website contains links to other sites. LA is not responsible for the privacy practices of other sites. LA encourages users when they leave the site to read the privacy statements of each and every web site that collects personal information. This privacy statement applies solely to the activities of LA
ONLINE COLLECTION NON-PERSONAL INFORMATION
When you look at this website, our Internet Service Provider makes a record of your visit and logs the following information for statistical purposes only – the user’s server address, the user’s top level domain name (for example .com, .gov, .au, etc), the date and time of the visit to the site, the pages accessed and documents downloaded, the previous site visited, and the type of browser used. No attempt is, or will be, made to identify users browsing activities except, in the unlikely event of an investigation, where a law enforcement agency may exercise a warrant to inspect activity logs.
DATA ACCESS AND FURTHER INFORMATION
Known for her powerful, often provocative live performance work and experimental projects, Betty Apple is one of the leading lights of from a younger generation of avant-garde artists in Taiwan. Born in 1986 in Chiayi, Taiwan, she received her B.A. in Theater and M.A. in New Media Art at the Taipei National University of the Arts. Her focus is on live art and sound art, while also engaging in video art, performance art, electronic music producing, DJing and art curation.
During her ten years of solid physical training and directing experiences in theater and film, Apple specialized in improvised, realistic performances. In recent years, she became an advocate of live art and created the Sound of Yin (陰性聲音) series, where she improvises music through a facilitated dialogue between body and object. The main idea in this project is to symbolize what is repressed by the seemingly ‘perfect’ or ‘accurate’ sounds of science and patriarchy working in concert.
Using body politics and performativity as her framework and drawing on her lived experience as a millennial living in post-colonial Taiwan, her work appropriates symbolic objects from kitsch culture and consumer society as sound elements – particularly mass-produced objects intended for eroticism or entertainment, such as vibrators, underwear and fluorescent paint, which are carried inside the body and expressed through violent and grotesque means. Through these performances, Apple’s aim is to study and deconstruct the chaotic and hysterical “noise text” that is created from input to output, distorted by dynamics introduced by humans as well as objects.
In the past, she was the resident artist at the 2013 Lacking Sound Festival in Taiwan. Her sound/behavioral sound project “超脫國歌cha twat gringo — The Ecstasy of Anthems” won the S-An Cultural Foundation award. Her philosophy on body and sound is conveyed through performance in many art contexts, such as in Tua-Tiu-Tiann International Festival of Arts; Treasure Hill Environmental Art Lantern Festival; Sonic Anchor#23 Vinyl Collage presented by Contemporary Musiking Hong Kong; The Editorial presented by Taipei Biennale; The Grassroots festival, Taipei Fringe Festival; On Site and Taipei Art District. She was also one of the producers in “I love nuclear?!”, the first electronic music album dedicated to Taiwan’s anti-nuclear movement. In 2017, she was one of the music producers for dance company MeimageDance’s “New Paradise of Silent Island,” a production led by winner of the 19th National Award for Arts, Ho Hsiao-Mei.
In September 2017, she was invited by the Mexican art organization Vernacular Institute for an art exchange in Mexico City. When her performance was cancelled at the wake of the Central Mexico earthquake, she invited local artists to co-produce the electronic music track “Future People’s message in Earthquake” to memorialize the disaster. She also invited local artists to participate in the music fundraiser event she organized on the week the disaster struck, so as to help aid stricken areas. At the end of 2017, she worked as co-curator with Liquid Architecture during their Taiwan tour, Entering Tone. Afterwards, she also collaborated with the Japanese art organization Chim↑Pom and organized the block party “道上趴體Art is in the pARTy” on top of Chim↑Pom’s 2017 Asian Biennale piece “道street.”