For the past 20 years, Liquid Architecture has been Australia’s leading organisation for artists working with sound and listening. 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 sovereign owners of the country where we live and work, and recognise that sovereignty has not been ceded. We pay our respects to their Elders, past, present and emerging.
GEORGIA HUTCHISON is a cultural development practitioner and arts executive in Naarm/Melbourne, working with Liquid Architecture since 2017. Her practice as an artist, educator, organiser and strategist crosses contemporary art, music, design and social justice. Previous to LA’s prolific international program, she has independently worked with partners including Asialink Arts, National Association for the Visual Arts, MONA, RMIT University, U-P, Molonglo Group.
JOEL STERN is a curator, researcher, and artist living and working on Wurundjeri land in Melbourne, Australia. Stern’s work deals with a range of issues, themes and questions connected with theories and practises of sound and listening. Interests include: sound, power and control; covert listening and panacoustic surveillance; polyphony as social practice; experimental music and community ritual; speech, voice, subjectivity; eavesdropping and ventriloquism; techno-politics of machine listening; rhetorics of nonsense and bullshit; pandemic soundscapes; acoustic justice; silence as testimony; post, trans, and non-human listening. Since 2013, Stern has been Artistic Director at Liquid Architecture, a leading Australian organisation that creates spaces for sonic experience and critical listening at the intersection of contemporary art and experimental music. In this capacity he has been responsible for hundreds of festivals, symposia, exhibitions, concerts and publications realised in Australia and internationally, with collaborators ranging from major museums and institutions through to community organisations and artist-led initiatives. In addition to Liquid Architecture, Stern has led numerous independent organisations including: OtherFilm, a collective working with artists moving image and the legacy of avant-garde cinema; and Instrument Builders Project, a workshop, residency, exhibition series featuring artists, musicians and craftspeople from across Australia and Asia. In 2018, with critical legal scholar James Parker, Stern curated Eavesdropping, an expansive project connecting Liquid Architecture, Melbourne Law School, Ian Potter Museum of Art, and City Gallery Wellington, which comprised exhisbitions, public programs, working groups, tours, and a publication, addressing the ‘politics of listening’ through work by artists, researchers, writers, detainees and activists from Australia and around the world. Stern’s PhD thesis ‘Eavesdropping: The Politics, Ethics, and Art of Listening’ was completed through the Curatorial Practice program at Monash University, where he also teaches on sonic art.
DEBRIS FACILITY PTY LTD is a queer Corporate Entity which entangles itself with Bodies, Complicating their Borders with Haptic Interfaces. Wearables act as Extensions to broader installation practices, and move Parasitically with their Hosts through Differing Terrains. The Transmutation of Industrial Materials into Situations, Installations and jewellery Implicates our Consumption within global Supply Chains, highlighting Transitory processes and Exchanges.
ALISA BLAKENEY is a curator from Western Australia. She has presented exhibitions and projects at Taipei Artist Village, Stedelijk Museum, De Appel, Tate Modern, Goldsmiths, Paper Mountain, and Bunbury Regional Art Gallery.
LIANG LUSCOMBE is a Naarm/Melbourne-based visual artist whose practice encompasses painting, sculpture and moving image that engage in a process of generative questioning of how media and film affect audiences. She has contributed essays and reviews for numerous publications and cultural institutions such as Artlink, Raven, Discipline, un Magazine, Art Collector Magazine, Runway Journal, West Space Journal and Monash University Museum of Art. She has been included in screenings at Liquid Architecture, Melbourne; OpenTV, Chicago; Comfort Station, Chicago; and Vehicle, NYC. She has undertaken residencies at Chicago Artist Coalition’s HATCH residency program, Chicago, 2019; SOMA Summer, Mexico City, 2018; Australia Council Studio, British School at Rome, 2013; and Perth Institute of Contemporary Art Studio Residency, Perth, 2011. Recent solo exhibitions include: Itchy IOUs, 2021, recess, Melbourne; Sweaty Scales, Metro Arts, Brisbane, 2020; Sweaty Scales, Sutton Gallery, Melbourne, 2019; She inches glass to break, VCUarts MFA Thesis Exhibition, Richmond, 2018; Table Talk, Box Copy, Brisbane, 2016; A Tall Painter, Yarra Flats, Melbourne, 2016; Three Sailors, Sutton Project Space, Melbourne, 2014; Non in Casa, 157 Blyth St, Melbourne, 2013.
JENNIFER BARRY is a creative professional with over 25 years' experience leading arts organisations, managing creative projects, devising public programs, and producing the work of artists, nationally and internationally. She has held a range of leadership positions including Footscray Community Arts Centre (Director/CEO), Shunpike (Executive Director /USA), Chunky Move (Executive Producer/Co-CEO), Federation Square (Manager, Public Programs), the Australian Institute of Arts Management (Executive Director), and the Arts Management Advisory Group of Victoria (Executive Director). As a consultant and project manager, she has worked with all levels of government, and numerous organisations, undertaking strategic planning, conducting stakeholder engagement, and managing business development initiatives. Clients have included the Australia Council for the Arts, Arts Victoria (now Creative Victoria), the City of Melbourne, the Australian Art Orchestra, the Australian Network for Art and Technology, and the Royal Children's Hospital, among many others. Jennifer has served on numerous not-for-profit boards and advisory committees.
NAOMI VELAPHI is an arts producer and programmer interested in contemporary, interdisciplinary arts practice. She is currently the Program Producer for the Australian Performing Arts Market (APAM) and also has an independent practice with a strong commitment to working with culturally diverse artists. She has held producing roles both independently and for a number of arts institutions including Arts Centre Melbourne, Arts House, Koorie Heritage Trust and the Abbotsford Convent. Naomi has over 10 years of experience in the industry and has worked across all facets of arts production including, curation, funding and budget management and audience development. She is currently a part of the Australia Council Arts Leadership Program, holds a Masters of Arts and Cultural Management from the University of Melbourne and holds a Bachelor of Arts (Communications) from Curtin University.
KRISTEN SMITH is a non-practicing lawyer with over a decade of experience focused on large scale commercial litigation and class actions. She currently works as an Investment Manager for international litigation financier, Omni Bridgeway, having previously worked for Slater and Gordon in their Commercial and Project Litigation team. She has also worked at Dundas & Wilson (now CMS) in Scotland and as an Associate to the Supreme Court of Victoria’s Associate Justice Efthim. In 2004, she was awarded the Victoria Law Foundation Chief Justice’s Medal for Excellence and Community Service. She has previously served on the boards of the Australian Communities Foundation and the EastWeb foundation and is currently Vice President of the Melbourne Electronic Sound Studio (MESS) board.
MARK NOLEN is a Certified Practising Accountant with extensive experience in the creative industries sector. He is currently Management Accountant at the Australian Centre of the Moving Image, having previously worked in a similar role at Film Victoria. Along the way he has helped countless singers, actors and even clowns get their taxes in order – no laughing matter! When not crunching numbers, you can find Mark sitting back with a fine drop of Scottish Whisky soaking up some even finer tunes.
DAVID CHESWORTH is an artist and composer, known for his experimental, and at times minimalist music, who has worked with electronics, contemporary ensembles, film, theatre and experimental opera. Together with Sonia Leber, Chesworth has created installation artworks using sound, video, architecture and public participation. Exhibitions include ‘56th Venice Biennale (2015), ‘19th Biennale of Sydney (2014), and ‘Melbourne Now’, National Gallery of Victoria, Melbourne (2013-14). Festivals featuring Chesworth’s music and sound works include Ars Electronica, Festival D’Automne de Paris, Bang on a Can Marathon, New York, Sydney Biennale, Adelaide and Melbourne Festivals and MONA FOMA. Early in his career he was co-founder of post-punk band Essendon Airport and for five years was coordinator of the Clifton Hill Community Music Centre in Melbourne. David Chesworth joined the Liquid Architecture Board in 2015.
HANNAH FOX is an artist, curator and creative producer working in the fields of sound, public art, contemporary music and live art. She founded creative partnership Supple Fox, delivered four years of programs as Artistic Associate for Contemporary Music at Melbourne Festival, and was Associate Creative Director of Mona’s winter festival Dark Mofo. In July 2019, along with Gideon Obarzanek, Hannah was appointed as Director and joint CEO of Rising – the newly remodelled and launched festival for Melbourne. Her tenure extends from 2020 till 2023. In parallel to her curatorial endeavours, Hannah has ventured into developing her own artistic practice in collaboration with artist Byron J Scullin and Thomas Supple. In June 2017, the group presented Siren Song: a large-scale, outdoor sonic artwork that fills the skies of a city, which continues to be remounted in cities around the world.
MICHAEL GRAEVE is a Castlemaine-based visual and sound artist. Working from easel painting through installation to sound performance, he engages painting and sound art practices in dialogue, extending frameworks for their creation and reading, and creating oscillations of conjunctive and disjunctive relations. He exhibits and performs internationally and has held over 25 solo exhibitions. His work has been reviewed in Artforum International, Eyeline, Real Time and Art/Text as well as in books by Ros Bandt and Caleb Kelly. He is a senior lecturer at RMIT University and holds a PhD. He was a Samstag scholar studying at the School of the Art Institute of Chicago, and has been awarded residencies in Vienna and New York. Michael has been a board member of Liquid Architecture Sound Inc since 2007, and was previously a board member and program manager at West Space Inc and a founding committee member of Grey Area Art Space Inc.
MONICA LIM oversees Fame Agenda, a casual women’s retail brand with presence in various department stores in Indonesia. With her husband, Konfir Kabo, she runs a portfolio of fuel retail sites across Australia, and is co-founder of Project Eleven: a philanthropic initiative supporting contemporary art projects with a focus on new commissions and cross-cultural projects. She previously practiced as a Tax Consultant at HLB Mann Judd and as Tax Manager at Deloitte Touche Tohmatsu between 2000-2006. Monica is a classical pianist with an interest in experimental and multidisciplinary forms of expression, and is completing her degree in Interactive Composition at the University of Melbourne. She has produced work for White Night, Melbourne Fringe and Arts Centre Melbourne and is working on projects for Arts House, Multicultural Arts Victoria, Ensemble Offspring and Ars Musica, Brussels. She currently sits on the Events Committee for the Melbourne Recital Centre. She has two sons, aged 14 and 16.
ANDY MILLER currently works as the General Manager of Multicultural Arts Victoria. Initially trained as a painter at the Canberra School of Art, Andy Miller worked in theatre for a number of years before working to establish arts programs in the community sector. Following a few years as an arts and cultural officer at two local governments, Andy began a career in the state public service in various senior roles at Arts Victoria and Creative Victoria and was seconded for a period with Creative Partnerships Australia, as Senior Programs Manager. As well as a Bachelor in Fine Arts, he has a Masters in Public Policy and a Graduate Diploma in Arts Management from the University of Melbourne.
We welcome conversation, ideas and feedback at any time.
104/35 Johnston Street
Collingwood VIC 3066
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.
This policy applies when Liquid Architecture determines what information will be collected or disclosed, or how any information will be processed.
We take a broad understanding of what constitutes ‘personal information’. We understand ‘personal information’ to include any information relating to an identified or identifiable natural person. An identifiable natural person is one who can be identified, directly or indirectly, in particular by reference to an identifier such as a name, an identification number, location data, an online identifier or to one or more factors specific to the physical, physiological, genetic, mental, economic, cultural or social identity of that natural person.
Liquid Architecture is bound by the Australian Privacy Principles contained in the Commonwealth Privacy Act and is compliant with the Privacy Amendment (Enhancing Privacy Protection) Act 2012.
THE TYPES OF PERSONAL INFORMATION LA COLLECTS
The type of information Liquid Architecture collects and holds includes (but is not limited to) personal information, including sensitive information, about:
- Contact information including email address, phone number, names, gender, organisation, role.
- Connection information including linkages and referrals between people.
- Financial information including amounts paid to LA, donated to LA, or received by LA.
- When you visit our website, our server maintains an access log that includes the following information: the visitor’s IP address, 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.
- When you visit our website, cookies are stored on your device that provides information to Google Analytics to give us statistical information about our visitors.
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. We collect personal information both from individuals directly and from third parties.
- Subscribing to LA’s newsletter via the website, in-person or other means
- Visiting LA’s website
- 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
- Through agreements with programming partners to add addresses to our mailing lists
- Images of persons might be collected during documentation of an LA performance
- If you become a LA Associate, Volunteer or Board Member
LA may also collect personal information over the phone, in person or by electronic correspondence in order to undertake its regular administrative operations
WHY PERSONAL INFORMATION IS COLLECTED
LA collects personal information in order to service the needs of its staff, audience and partnerships. This information is only used with your consent. Your personal information may be retained and used for the following purposes:
- To communicate with staff, artists, associates, volunteers, or Board Members
- For communicating about upcoming programs and services offered by LA and its partners
- For documenting LA performances and events
- To communicate to LA audiences on behalf of other arts or government organisations offering information regarding their products
- For artistic program research and organisational continuous improvement purposes
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.
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.
LA may, however, disclose your personal information or financial data (information exchanged in transactions relating to donations, ticket purchasing or any other product sold):
- To our insurer or legal advisors for the purpose of obtaining insurance coverage, obtaining professional advice, and managing risks.
- To our payment services providers or financial institutions. LA will share transaction data only to the extent necessary for processing, refunding, or dealing with queries about payments.
- In a situation where such disclosure is necessary for compliance with a legal obligation that LA is subject to, or in order to protect the vital interests of a person.
LA will not disclosure personal information to recipients in another jurisdiction unless that jurisdiction has a privacy regime at least as equally protective as Australia. LA will always ask for specific consent before disclosing personal information to a recipient in another jurisdiction.
PERSONAL INFORMATION ACCURACY
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.
At any time, any person has the right:
- To know what personal information LA holds about them and how it has been used
- To correct or alter any personal information LA holds about them
- To have the personal information about them erased
- To withdraw consent for the collection, retention, disclosure, use or processing of personal information
- To make a request or inquiry, write to firstname.lastname@example.org
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.
GENERAL DATA PROTECTION REGULATION (GDPR)
LA operates occasional European artistic programming and partnerships, and complies with the data protection policies required by the European Union General Data Protection Regulation (the GDPR) since 25 May 2018.
OUR DATA SECURITY POLICY
LA takes steps to prevent the personal information it holds from misuse, loss, interference or unauthorised access.
LA will also destroy or de-identify personal information when it is no longer needed, or when requested.
If you would like further information about the way Liquid Architecture manages the personal information it holds, please contact LA via email@example.com.
Feedback & Complaints
Liquid Architecture (LA) is committed to respecting feedback and complaints and continually improving our processes. This policy is intended to ensure that we handle complaints fairly, efficiently and effectively. We encourage feedback as part of improving our audience experience and artistic programming.
You can provide feedback or make a complaint via email via email to firstname.lastname@example.org.
HOW DOES LA HANDLE FEEDBACK AND COMPLAINTS?
Upon receiving feedback or a complaint, LA will acknowledge receipt of the feedback or complaint; and request further information if necessary and advise how the issue is likely to be resolved.
LA will not respond to feedback or complaints that violate State or Federal laws, or suggest that others do so; contain profane, violent, abusive, sexually explicit language or hate speech; or are bullying, harassing or disruptive in nature.
Where possible, complaints will be resolved at first contact with us. When appropriate we may offer an explanation or apology to the person making the complaint. Where this is not possible, we may decide to escalate the complaint to LA’s CEOs or Board. Where a person making a complaint is dissatisfied with the outcome of our review of their complaint, they may seek an external review of our decision.
We will take all reasonable steps to ensure that people making complaints are not adversely affected because a complaint has been made by them or on their behalf.
All complaints are confidential. We accept anonymous complaints if there is a compelling reason to do so and will carry out a confidential investigation of the issues raised where there is enough information provided.
HOW LONG WILL IT TAKE FOR MY COMPLAINT TO BE RESOLVED?
The time it takes to resolve a matter depends on the issues raised and any enquiries that need to be made. As a guide, LA aims to acknowledge written feedback and complaints within 1 business day of receipt (if an email address or phone number is provided); respond to all written feedback and complaints within 5 business days of receipt.
LA will consider the matter closed if you indicate that you are satisfied with the response, or LA does not hear from you within 10 business days after sending you its response.
WHAT IF I’M NOT HAPPY WITH THE RESPONSE?
If you are dissatisfied with LA’s response you are encouraged to contact LA to request an internal review. You should outline in writing why you are dissatisfied with the response; and the outcome you are seeking. LA will provide a further response within 10 business days of receiving this information.
If you are dissatisfied with the outcome of our review of their complaint, you may seek an external review of our decision (by the Australian Charities and Not-for-Profits Commission for example).
Australian Charities and
Advice team: 13 22 62
TICKET REFUNDS AND EXCHANGES
LA may provide an exchange or refund of a ticket if problems arise before, during or after an event. LA encourages our audience to try to resolve problems as soon as possible after they arise so that we have the best opportunity to find a solution.
Douglas Quin, Ph.D., is a world-renowned sound designer, naturalist, public radio commentator, music composer, who currently teaches in the Department of Television, Radio and Film at the S.I. Newhouse School of Public Communications at Syracuse University.
Over the past two decades, Doug has become known as one of the true renaissance men of the soundscape world. His CDs run the gamut from naturalistic portaits of place to electroacoustic explorations based on natural sounds to jazz and choral works that are rooted in the ways of the sounding world. He’s produced museum sound design for projects ranging from Disney’s Animal Kingdom to the Martin Luther King, Jr. National Historic Site and the Holocaust and Human Rights Center in Augusta, ME. His sound design has also been featured in Werner Herzog’s Encounters at the End of the World, Jurassic Park 3 (the dino language), and the game/world Spore.
He has traveled widely documenting the natural soundscape—from Antarctic ice to Arctic tundra and from African savannah to Amazon rainforest. Quin’s recordings of endangered and disappearing habitats represent one of the most unique and extensive collections anywhere. His pioneering work has received recognition and support from the National Science Foundation and the National Endowment for the Arts (including two coveted fellowships to join scientists in field stations in Antarctica).