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 the traditional owners and sovereign custodians of the land on which we are situated, the peoples of the Woiwurrung and Boonwurrung language groups. We extend our respect to their Ancestors and all First Peoples and Elders past, present, and future.
Andy Miller (Interim Chair)
Naomi Velaphi (Vice Chair)
Mark Nolen (Treasurer)
Leana Papaelia (Secretary)
(recent alumni) Hannah Fox
(recent alumni) Kristen Smith
(recent alumni) Bebe Backhouse
Georgia Hutchison (Executive Direction, CEO)
Joel Stern (Artistic Direction)
Debris Facility (Education)
Alisa Blakeney (Program)
Liang Luscombe (Publishing and Communication)
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.
Nicola Gunn works as a performer, writer, director, producer and dramaturg, responsible for realising her own projects from conception to presentation since 2002. She makes live performances, videos, objects, site-specific installations and books. Her live works are philosophical and text-based. She borrows from theatrical, choreographic, literary, comedic and visual art languages to create a mode of contemporary performance that plays with form and pursues a narrative. She is interested in people and relationships first and foremost and how to use language simply to convey a hidden and modest complexity. The starting process is often a written text responding to a self-generated impulse to tell a story or explore a form. Exploring wide-ranging topics including power, language, institutional critique, the problem of intimacy and exposure, peace and conflict, her works attempt to intermingle material and context, complicating relationships between self, subject and viewer in the process. She has been commissioned by both theatre and dance venues, and presented in both contexts internationally. Her work has been shown in Australia, New Zealand, Chile, the US, Canada, France, Austria, Portugal, the Czech Republic, Italy, Finland, Norway, Sweden, Germany, Switzerland, the Netherlands, Ireland, the UK and Belgium and by festivals and venues including Biennale di Venezia Danza, Tanz im August, Dublin Theatre Festival, Tanzquartier Wien, La Villette, Le Grütli, PuSh Festival, PS122’s Coil Festival, On the Boards, Melbourne International Arts Festival and Black Box Teater Oslo among others.
She has had residencies at Cité des Arts in Paris; USF and Carte Blanche in Bergen; The Chocolate Factory Theatre in NYC; Vooruit in Gent; Banff Centre for the Creative Arts in Canada; and Bundanon, Chunky Move, Arts House, Malthouse Theatre, MTC and Vitalstatistix in Australia.
Nicola has been awarded an Australia Council Creative Australia Fellowship, an Australia Council Theatre Award Fellowship and a Sidney Myer Fellowship. As a 2016 Churchill Fellow, she researched socially engaged art and site-specific practices in the UK and the US, and spent time with Artangel, the Ruhrtriennale, Mammalian Diving Reflex and NY-based artist Aaron Landsman looking at the intersection of art and activism, art and social justice. As a performing artist and theatre maker working in this realm, Nicola has collaborated with children, retired women aged 65+, an Indigenous language researcher, young people living in commission flats, a Deaf artist and an Auslan interpreter, tackling themes such as obsolescence, irrelevance, capitalism, shame, preservation, language and the privatization of public housing.
As a performing collaborator, she has worked consistently with choreographer Jo Lloyd, creating both performances for theatre contexts, as well as durational pieces for museums and art spaces: the National Gallery of Victoria International, West Space and Gertrude Contemporary. As a writer she has contributed text to the work of Tamara Saulwick (Public), Pan Pan (The Temple) and most recently authored the site-specific work, Passenger, for directors Ian Pidd and Jessica Wilson. In 2016 she collaborated with illustrator Michael Fikaris on a comic book called Instruction Manual for Lonely Mountains adapted from her 2014 stage production, Green Screen. As a performer she has worked with Tamara Saulwick (Public), Ridiculusmus (The Eradication of Schizophrenia in Western Lapland) and Andrea Spreafico (M2L). As a dramaturg she has worked with choreographers Jo Lloyd (Confusion For Three), Luke George (Public Action, Erotic Dance) and Mirte Bogaert (And there is a chair). She was co-editor and co-curator of the Australian edition of Imagined Theatres, an online anthology of contributions by international performance artists and theorists towards the idea of an “imagined theatre”, a project conceived by Daniel Sack.
As a teacher and facilitator, she has led workshops in performance-making and writing for performance in Australia at the VCA, National Theatre School, Monash University and Back to Back Theatre; in Canada at Dawson’s College, St Catharine’s University, Intrepid Theatre and Simon Fraser University; in Ireland at Dublin Theatre Exchange for Dublin Theatre Festival; in Austria at Tanzquartier Wien; in Bergen at Bergen Dansesenter and KMD; and in Malmö at Skånes Dansteater. She is currently an Assistant Professor in a temporary position at KMD, the art academy of the University of Bergen, in the department of Time-Based Art.
Nicola holds a Master of Arts (Art in Public Space) from RMIT in Melbourne.