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.
Liquid Architecture is a non-profit cultural organisation with Deductible Gift Recipient (DGR) status. We support artists working with sound.
Your support helps us instigate more programs, conduct more research, stage more extensive experiments and more exchanges with artists, and generate more dialogue. And more sound.
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.
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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:
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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.
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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.
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DATA ACCESS AND FURTHER INFORMATION
"Aboriginal children have the highest rates of Otitis Media, a middle ear infection that causes hearing loss, than any other people in the world.”
Bulging ear drums and hearing loss, Amanda Leach, The Conversation, 2016.
"For context I’d first like to explain my own experience of Otitis Media, its screening and treatment. I grew up in Redfern and attended (like every other Indigenous kid) kindergarten at Murraweena, located on The Block on Eveleigh Street. My mother cut her teeth as a community nurse and health researcher at the three Koori schools in the inner Sydney area. Throughout the late 1980's and early 90's Otitis Media was a leading health issue for indigenous kids, affecting language development, attendance and other outcomes. A group of indigenous women lead the charge on this issue by implementing a screening program for kids that become a research project for best practices Australia wide. I myself had consistent ear infections for the first 3-5 years of my life, as is the common story in our communities both urban and remote, and unfortunately continues today. I feel that the children who were treated in this program, and the programs it influenced, have these women to thank for something most people including myself have take for granted, that we can hear clearly.
In a deeper and, perhaps more conceptual, sense, the capacity to hear (and therefore, listen) is also the capacity to access knowledge about our histories, our culture and language - the necessary conditions for self-determination. Given the importance of oral history and songs as Indigenous knowledge, the loss of the capacity to hear is profoundly impacting, and in many cases has huge implications for social, emotional and mental health.
My work for Eavesdropping is titled 'Hearing, loss'. It comprises recorded conversations between myself and my mother Juanita Sherwood, documenting her experience on the front lines of treating middle ear infection and Otitis Media. These audio recordings will be subject to a series of manipulations that simulate the disruptive nature of conductive hearing loss and and its auditory effects. In addition, the work features two opposing videos of myself and my mother's tympanic membrane's (eardrums) captured through an otoscope (a medical device which is used to look into the ears) as we conduct our conversation."
Joel Spring is a Wiradjuri man raised between Redfern and Alice Springs who works across research, activism, architecture, installation and speculative projects. At present, his work focuses on the contested narratives of Sydney’s and Australia’s urban culture and indigenous history in the face of ongoing colonisation.
Alice Hui-Sheng Chang
Amanda Stewart and Jim Denley
Anna Homler AKA Breadwoman
Anthony Lyons and Paul Fletcher
Antoinette J. Citizen
Antonia Sellbach with Julie Burleigh and Alison Bolger
Atlanta Eke and Daniel Jenatsch
Beth Sometimes & Caroline Anderson
Bhenji Ra x Del Lumanta x Daryl Prondoso
Black Quantum Futurism
Brian Fuata x Enderie
Bryan Phillips AKA Galambo
COCO SOLID AKA Jess Hansell
Catherine Clover and Peter Knight
Chloe Alison Escott
Christopher LG Hill
Chun Yin Rainbow Chan
Clare Milledge and Tom Smith
Clocks and Clouds
Collingwood College Sound Collective
12 dog cycle
David Chesworth and Sonia Leber
David Shea and Kristi Monfries
Dennis Del Favero
Dirk de Buyn
Eric Demetriou and Herbert Jercher
Evelyn Araluen Corr
Evelyn Ida Morris
Faene (Corin x Ju Ca)
Fayen d’Evie and Jen Bervin with Bryan Phillips and Andy Slater
Feminist Theory Group
Fernando do Campo
Haco and Toshiya Tsunoda
Hannah Catherine Jones AKA Foxy Moron
Harriet Kate Morgan
Hi God People
Rosalind Hall and Dave Brown
Is There A Hotline?
id m thffft able
J'Ouvert Ft Makeda and The AM Trio - Ece Yavuz, Alvin Rostant and R
James Utting-Webb and Riley Lockett
Jenny Ruth Barnes
Joanna Anderson & Michael Prior
Johannes S. Sistermanns
Julia Drouhin and Pip Stafford
Anja Kanngieser and Daniel Jenatsch
Keith Fullerton Whitman
Lacking Sound Festival
Lawrence Abu Hamdan
Lei Lei Kung
Leila El Rayes
Leila El Rayes x Poison
Lorna & Aunty Jenny Munro
Snack Syndicate (Andrew Brooks and Astrid Lorange)
Joseph Jordania and Nino Tsitsishvili with Melbourne Georgian Choir
M J Grant
Matthew P. Hopkins
Matthew P. Hopkins & Julie Burleigh
Media Lab Melbourne
Megan Alice Clune
Mehera San Roque
Michael Green, André Dao, Jon Tjhia, Abdul Aziz Muhamat, Farhad Bandesh, Behrouz Boochani, Shabbir Hussein and more
Monica Monin & Astrid Lorange
Nathan John Thompson
Noel Meek and Olivia Webb
Peter Brötzmann and Heather Leigh
Pia Van Gelder
Poppy de Souza
Queens of the Circulating Library
Romy Seven Fox
Sally Ann McIntyre
Shi Chao Lai
Th Duo Trio
Thanh Hằng Phạm
The Charles Ives Singers
The Donkey's Tail
Ting Shuo Hear Say
Undine Sellbach & Stephen Loo
Ur 1st Luv
Ute Meta Bauer
Will Foster and Sabrina D’Angelo