Active since 2000, Liquid Architecture is a Naarm (Melbourne) based organisation supporting experimental, interdisciplinary and critical work addressing sound and listening in context.
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 the Wurundjeri Woi Wurrung as the Traditional Owners and sovereign custodians of the Country on which we practice. We extend our respects to their Elders past and present, and to all First Peoples.
NARETHA WILLIAMS (INTERIM CO-CHAIR) is an accomplished practitioner in the Australian creative industries sector. An established artist and music producer, she is a seasoned industry professional with extensive experience across a dynamic range of appointments. Naretha has worked with leading Australian companies and First Nations initiatives, flagship festivals and events, has toured internationally and won several awards. Credits include: St Kilda Festival, Bless Your Blak Arts Festival, Australasian World Music Expo, International Symposium on Electronic Art, Yirramboi First Nations Arts Festival, Science Gallery London, Chunky Move, Performance Space New York, The Melba Spiegeltent, Melbourne Town Hall Grand Organ, Sydney Myer Music Bowl, Sydney Dance Company, and Melbourne’s Flash Forward.
DANNY BUTT (INTERIM CO-CHAIR) is Senior Lecturer in Interdisciplinary Practice at Victorian College of the Arts, University of Melbourne, where he is also Graduate Research Convenor for Design and Social Practice. His book Artistic Research in the Future Academy was published by Intellect/University of Chicago Press in 2017, and he is on the Editorial Board of the Journal for Artistic Research.
ANDY MILLER (DIRECTOR) 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.
MARK NOLEN (TREASURER) is a Certified Practising Accountant with extensive experience in the creative industries sector. He is currently Management Accountant at ACMI, 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 Scotch whisky, soaking up some even finer tunes.
LEANA PAPAELIA (SECRETARY) is a barrister at the Victorian Bar and a soprano. At the Bar, Leana practices in commercial and public law with a focus on banking and financial services regulation, corporations and securities, insolvency, trade practices and human rights. Leana holds an AMusA and a BMus (Hons) majoring in vocal performance. She received a university scholarship to complete her honours and, in her final year of study, was awarded the Horace Keats Memorial Prize for Excellence in Vocal Performance. Leana currently studies under the direction of Loris Synan OAM. Leana is a board member of the Australian Contemporary Opera Company and has held board positions with Lawyers for Animals, an organisation dedicated to improving the welfare of animals through education and law, and Right Now, an independent not-for-profit mediation organisation focusing on human rights issues in Australia.
NAOMI VELAPHI (DIRECTOR) is an arts producer born on Whadjuk Noongar country, residing in Naarm (Melbourne). She strives to nurture artists’ work and practices exploring alternative narratives, radical thought and deep connection. Centred on producing the work of contemporary, diverse, and interdisciplinary artists her experience spans working for and amongst galleries, festivals, and performance spaces. Naomi has over ten 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 Senior Producer at Next Wave and has also held producing roles for a number of arts institutions including APAM, Arts House, The Abbotsford Convent, and Koorie Heritage Trust. Through her independent practice she aims to unearth honest and generous collaborations between artists, producers, curators, and presenters and create pathways for new work creation. Her curatorial interests are derived through her experiences as a woman of african and asian identities and the communities she represents. She holds a Masters of Arts and Cultural Management from the University of Melbourne and is a part of the Australia Council Arts Leadership Program 2020.
DAVID CHESWORTH (DIRECTOR) 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, David 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, Biennale of Sydney; 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, Melbourne. David is a Vice-Chancellor’s Postdoctoral Fellow at RMIT University, Melbourne, researching auditory archives.
CAT HOPE (DIRECTOR) is a researcher, composer, performer, songwriter, and noise artist. She is a flautist and experimental bassist who plays as a soloist and as part of other groups. She is the director of and performer in Decibel: a group focused on Australian repertoire, the nexus of electronic and acoustic instruments and graphic score realisations. In 2011 and 2014, Cat won the APRA|AMC Award for Excellence in Experimental Music, and for 2014 she was resident at the Peggy Glanville Hicks composers house, and is a Civitella Ranieri and Churchill Fellow. She is co-author of Digital Art – An Introduction to New Media (Bloomsbury) and Professor of Music at Monash University.
MONICA LIM (DIRECTOR) is a Melbourne-based pianist and composer of classical contemporary and experimental music. Born in Malaysia and then migrating to Australia in her teens, Monica initially practiced as a Tax Consultant for Deloitte Touche Tohmatsu, before pursuing her own interests in business and the arts. She has produced work for theatre, contemporary dance, installations, and film, as well as solo and ensemble instrumental pieces. She is interested in new cross-disciplinary genres and forms as well as combinations of new technology with music. Monica is currently undertaking a PhD at the Faculty of Fine Arts and Music, University of Melbourne in interactive technology, AI and gesture-led composition. Monica is co-founder of Project Eleven, a philanthropic initiative which supports the contemporary arts and serves on the boards of the Melbourne Recital Centre, the Substation and Liquid Architecture as well as the Member’s Council for Musica Viva.
Georgia Hutchison (Executive Director, CEO)
Debris Facility (Creative Producer)
Rohan Rebeiro (Creative Producer)
Liang Luscombe (Editor)
Mara Schwerdtfeger (Digital Producer)
Casey (Nicholls-Bull) Jones (Digital Producer)
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.
Manus Recording Project Collective: Farhad Bandesh, Farhad Rahmati, Samad Abdul, Shamindan Kanapathi, Thanush Selvraj, Yasin Abdallah, Abdul Aziz Muhamat, Behrouz Boochani, Kazem Kazemi, Michael Green, André Dao, Jon Tjhia
HOW ARE YOU TODAY
Since 2013, nearly two thousand men have been indefinitely detained on Manus Island, PNG, by the Australian Government – after arriving in this country seeking asylum. When the Manus Regional Processing Centre was formally closed on 31 October 2017, after the Papua New Guinea Supreme Court declared it unconstitutional, the men still detained there were ordered to relocate to new, smaller detention centers in Lorengau, the major town on Manus. The authorities eliminated provisions and removed the diesel generators powering the facility, but the men refused to leave: the culmination of years of organised resistance against their involuntary and indefinite detention. Eventually, they were forcefully evicted.
Since 24 July 2018, six men – Farhad Bandesh, Behrouz Boochani, Samad Abdul, Shamindan Kanapathi, Kazem Kazemi and Abdul Aziz Muhamat – have been sending daily ten minute audio recordings to The Ian Potter Museum of Art from Manus Island, where they have been detained by the Australian government for the last five years. The recordings are then played back in the gallery throughout the day. This continued until 28 October 2018 at the end of which 14 hours of sound was produced, in effect, an archive of what it sounds like to live in limbo.
how are you today opens a channel for a form of speech at a moment when words seem to have been exhausted. It is at once an extremely intimate work – a rare opportunity to listen to these men listening, only very recently, some four thousand kilometres away – and a highly political one. It introduces the Manus soundscape to the gallery not just for the sake of the sounds-in-themselves, not just as a matter of curiosity (though the work will surely produce an archive of real historical value), but in a way that directly implicates the listener and demands that we attend to the politico-legal contexts that produce and frame them.
WHERE ARE YOU TODAY
Every day for a month, beginning on 1 August, you’ll receive a text message with a new ten-minute audio recording from Farhad Bandesh, Farhad Rahmati, Samad Abdul, Shamindan Kanapathi, Thanush Selvraj or Yasin Abdallah.
Subscribe by texting ‘Hello’ to +61 488 845 951
These men, seeking asylum by boat, were forcibly transferred to Manus Island by the Australian government nearly seven years ago. Now, they are held in hotels or detention centres in Port Moresby, Melbourne or Brisbane.
‘For this recording, of course, there will be people who find it boring, and they won’t want to listen. But there are many people here, who just sit down and try to understand. They close their eyes, just to imagine the people in Manus, and try to make a connection with the men, in Manus. And that’s why I think this work is very interesting … it takes the audience inside the prison camp, just to live with them for a while. To witness their lives. Another thing really that is very important, is that this system treats us in a way where we do not exist. But we do exist. Sometimes we exist in Australia, through these artworks, you know. That part is very surreal. That is the important thing about this work. That it allows us to say: here we are.’
Behrouz Boochani, in conversation
with André Dao about how are you today,
3 December 2019.
[8:36 pm, 16/11/2019] Michael Green:
How are things in the hotel?
[7:01 pm, 17/11/2019] Yasin Abdallah:
Still waiting …
How does this work?
As a subscriber of where are you today, you’ll receive a daily text message containing a link to each day’s ten-minute recording. The site will display some additional information: the number of kilometres between you and the person who made the recording, and the number of minutes, hours, or days that have elapsed since the recording* was made.
FARHAD BANDESH is a 38-year-old Kurdish musician, painter and poet who was detained on Manus Island for six years, and now for more than a year in the Mantra Hotel and Melbourne Immigration Transit Accommodation (MITA). Before seeking asylum, he worked as a guitar maker. He has no formal art training; whilst in detention, he has produced solo and collaborative works of music, art and writing. He loves nature and is a keen gardener; his sisters now look after his plants.
FARHAD RAHMATI is 42 years old. He is a civil engineer from Khorramabad City in Iran. He was forcibly sent to Manus Island in 2013 and then evacuated to Australia in 2019 to be treated for a heart condition he developed in PNG. He was held at Kangaroo Point Central Hotel for eight months, where, from his balcony, he watched people walking their dogs on the outside. In June, he was moved to Brisbane Immigration Transit Accommodation (BITA).
SAMAD ABDUL was detained in an Australian run offshore detention centre on Manus for five years. For the last two years he has been in Port Moresby, where he is still not free. He loves cricket and his only dream was to be a professional cricketer but politicians have taken his dream and used him as a political prisoner. Although his seven years will not come back, he now wants to be a social worker to help those who are in pain.
SHAMINDAN KANAPATHI is a Sri Lankan Tamil refugee. In Sri Lanka he was a marketing executive and a student. He was detained on Manus Island for six years and is now held in Port Moresby.
THANUSH SELVRAJ is a 32-year-old Sri Lankan Tamil refugee who fled persecution. In Sri Lanka he was a painter, artist, hairdresser, phone and computer repairer, photo and video editor and a student. He was detained on Manus Island before being transferred to Port Moresby hotel detention. From PNG he was transferred to the Mantra Hotel in Preston, Melbourne. He is currently being held in MITA with no hope of his freedom.
YASIN ABDALLAH is a 24-year-old man from Darfur, Sudan, from the Zaghawa ethnicity. He arrived in Australia by boat in 2013 and was taken to Manus Island. He has been detained in Mantra Hotel in Preston, Melbourne, for one year. When he was a teenager in Sudan, he used to fix cars with his uncle. He wants to be a mechanical engineer.
ANDRÉ DAO is a writer of fiction and non-fiction. He is the co-founder of Behind the Wire, an oral history project documenting people’s experience of immigration detention.
JON TJHIA is a radio-maker, artist and writer. As the Wheeler Centre’s senior digital editor, he collaborated with Behind the Wire to produce The Messenger. He’s a co-founder of Paper Radio and the Australian Audio Guide.
MICHAEL GREEN is a writer, radio-maker and producer. He was the host of The Messenger podcast, which won the 2017 Walkley Award for Radio/Audio feature. He travelled to Manus Island twice.
Two members of the Manus Recording Project Collective, who made recordings for how are you today (2018), are no longer detained by the Australian government. ABDUL AZIZ MUHAMAT is now in Geneva, where he was granted asylum by the Swiss Government. BEHROUZ BOOCHANI is now in Christchurch, New Zealand. A third member of the collective, KAZEM KAZEMI, is still being detained at Kangaroo Point Central Hotel in Brisbane. Kazem decided not to make recordings for where are you today.