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.
DANNY BUTT (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.
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.
NARETHA WILLIAMS (DIRECTOR) 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.
GAIL PRIEST (DIRECTOR) is a sound artist and writer based on Dharug and Gundungurra land (Katoomba, NSW). Her work spans soundtracks for dance, theatre and video, solo electro-acoustic performance as well sound installations for gallery contexts, both solo and in collaboration. She has performed her live compositions and exhibited sound installations nationally and internationally including in Japan, Hong Kong, Germany, France, Norway and the Netherlands. In 2015-16 she was awarded an Emerging & Experimental Arts Fellowship from the Australia Council. She has undertaken numerous radio commissions and releases music on her own label Metal Bitch Recordings as well as Flaming Pines, Endgame Records and room40. She curates events and exhibitions and writes fictively and factually about sound and media art, working for RealTime magazine for over 15 years. She has been on the board of Performance Space (2011-2014), and a peer assessor for the Australia Council. She has just completed a PhD in creative sound theory at UTS. www.gailpriest.net
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.
REBECA SACCHERO (DIRECTOR)
Rebeca Sacchero is a Producer with extensive experience across multiple Metro Melbourne Inner North Local Government Areas. Rebeca understands the local government context whilst also having relationships and experience in small to medium arts orgs. She has been working in the space of community engaged practice and is passionate about creating arts access for under-represented communities. She has a strong track record of successful projects with youth, the LGBTQIA+ community, CALD communities and seniors. She has worked across visual arts, performing arts and digital media, with a range of government and private stakeholders. These include major festivals, local and state Government, ARI’s, schools, community health orgs, and social enterprises. She completed a degree in Art History and Curatorship at Monash University in 2017 and in 2019 was selected for Leadership Victoria’s LGBTQIA+ Leadership program. She also runs her own community building electronic music events in which she has toured international artists, and is a DJ.
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.
PATRICK HARTONO (MEMBER) Born in Makassar 1988, Patrick Gunawan Hartono is an Indonesian electroacoustic composer and audiovisual artist. He earned a BMus in Composition (Cum laude) from Rotterdam Conservatory with Minor Study at The Institute of Sonology, MMus in Sonic Arts from the University of London, Goldsmiths, and Live Electronic Course from IRCAM, Paris. In 2017 he won the ICMA audience award for his generative audiovisual piece “Matrix Studies” and the 1st Prize for WOCMAT 2019 International Electroacoustic Music Young Composer Award. Most of his works use the sound of Indonesian traditional music instruments, computer-generated sound/images, field recordings; transformed, rearranged, modulated by mathematical rules, real-time interaction, and controlled random operations. Patrick is currently based in Melbourne, Australia, to pursue a doctoral degree at the University of Melbourne while actively involved in local and international electroacoustic/computer music communities.
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.
Lucreccia Quintanilla and Kristi Monfries (Co-Directors)
Rohan Rebeiro (Creative Producer)
Ronen Jafari (Programs Coordinator)
Laura McLean (Associate Curator - Capture All)
Helen Grogan (Associate Researcher and Archivist)
Debris Facility (Associate Producer)
Liang Luscombe (Editor-at-Large Editor - Disclaimer)
We welcome conversation, ideas and feedback at any time.
104/35 Johnston Street
Collingwood VIC 3066
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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.
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The type of information Liquid Architecture collects and holds includes (but is not limited to) personal information, including sensitive information, about:
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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
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If you would like further information about the way Liquid Architecture manages the personal information it holds, please contact LA via firstname.lastname@example.org.
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305 William St
3PM - 5PM
Liquid Architecture and Melbourne Law School present a series of performances, presentations and experiments conducted in Court 8A at the Federal Court Building, Melbourne.
There is a reason it’s called a hearing. Gavels knock, oaths are sworn, testimony is delivered, judgement pronounced: and all this out loud, viva voce. Contemporary courtrooms are wired for sound. The microphone is becoming a condition of legal practice. Trials are intensely mediated: video-linked, transcribed, recorded, compressed and archived; the judicial soundscape no longer limited to the phenomenological range of those physically present.
Sound is essential to the administration of justice, an inalienable part of our legal worlds. But not just any sound. Listen carefully. What do you hear? To begin with, silence: a powerful quiet. Mobiles are switched off. Conversations whispered. Soundproofing isolates against the volume of daily life. The judicial soundscape depends on and entrenches an association between silence and civility, noise and disorder, with an exceptionally long pedigree in the West and elsewhere. In the courtroom, silence is figured as the proper condition out of which legal discourse emerges.
The opening of proceedings. An aggressive cross-examination. Latinisms. A witness stumbling to make themselves understood. The portentous eloquence of a barrister in closing. In a word, words. Speech, discourse, dialogue. And in court, this speech acts; subtended by the power of the state, the threat of handcuffs and incarceration, a violence that may or may not remain latent but which is required to sustain the operation of law.
A courtroom is not a gallery.
Legal practice is, of course, highly aesthetic and theatrical, yet in its imagined pursuit of justice according to rule and dispassionate reason, the law expends great energy on the denial or repression of this fact. The aesthetic is everything that law, in the West, is not supposed to be. The courtroom and gallery exist in tension: each insisting that they are not the other.
This insistence is our point of departure. Sometimes it is only from the edge that the centre becomes clearly discernible. Precisely by transgressing, over-reaching and extending the ordinary principles of courtroom o/aurality, attention can be drawn to them. They can be made audible, and so susceptible to critique. Then again … What constitutes a transgression when the court is not ‘in session’? When is a courtroom just a room? How much does the courtroom remain one even when it has been offered up as a gallery?
Joel Stern is Artistic Director at Liquid Architecture, an Australian organisation for artists working with sound.
James Parker is a senior lecturer at Melbourne Law School, where he is also director of the research program ‘Law, Sound and the International’ at the Institute for International Law and the Humanities.
Sean Dockray is a Melbourne based artist writer of text and code, founding director of the Los Angeles non-profit Telic Arts Exchange, and initiator of knowledge-sharing platforms, The Public School and Aaaaarg. His work concerns sharing economies and the perpetual present of networked platforms.
Philip Morrissey is a Murri scholar and Academic Coordinator of the Faculty of Arts Australian Indigenous Studies
program at the University of Melbourne. He lectures in Aboriginal cultural studies and Aboriginal writing. He has
published on Aboriginal fine arts, film, literature, governance, sport and the public sphere.
Grace Koch is a Visiting Research Fellow at the Australian Institute of Aboriginal and Torres Strait Islander Studies (AIATSIS) and a Visiting Senior Research Fellow at the National Centre for Indigenous Studies, Australian National University. At Acoustic Justice she will be presenting reflections on her AIATSIS paper “We have the song, so we have the land: song and ceremony as proof of ownership in Aboriginal and Torres Strait Islander land claims.”
Nathan Gray is a Berlin-based Australian artist and performer whose work extends from studio and on site experiments. Improvising with the given, the found and the already-made Gray approaches objects and locations as scores for action.
Atlanta Eke is a Melbourne-based dancer and choreographer concerned with dissolving pre-existing perceptions and expectations by changing fixed representations of the body through movement.
Daniel Jenatsch is an artist, composer, musician and performer. He is a member of music group Sky Needle and performance art collective New Forms of Life.
Sara Ramshaw is an Associate Professor at the University of Victoria Law School. Her book, Justice as Improvisation: The Law of the Extempore (Routledge, 2013), was nominated for the 2014 Socio-Legal Studies Association Hart Book Prize.
Diego Tonus is an artist living and working in Amsterdam and London. At Acoustic Justice he will be presenting excerpts and images from Processing Authorities, a work in progress that evolves around an anonymous and singular group of hammers owned by the International Institute of Social History (IISH) in Amsterdam.
Tanya Wayne is a doctoral candidate at UNSW’s Forensic Psychology Lab, where she is researching on unfamiliar voice discrimination. At Acoustic Justice she will be conducting voice discrimination experiments on anyone willing and able.
Acoustic Justice is a collaboration between Liquid Architecture and the Melbourne Law School, curated by James Parker and Joel Stern. It is part of a series of events leading up to ‘Eavesdropping’, a major exhibition at the Ian Potter Museum of Art, July – October 2018We acknowledge the Wurundjeri, Boonwurrung, Taungurong, Dja Dja Wurrung and the Wathaurung people of the Kulin Nation as the custodians of the land in which this event takes place, and we recognise that sovereignty was never ceded. We pay our respects to their Elders, past, present and emerging.
While we were examining this wonderful new make of organ, the leprous were brought in by her abstractors…
James Parker is the Director of a research program on Law, Sound and the International at the Institute for International Law and the Humanities (IILAH) at Melbourne Law School.
Artist Nathan Gray’s recent works use voice as their medium, taking form as lecture-performances, radio-plays and documentaries, DJ sets, narrative and rumour.
“There are many conversations that happen on social media that are worth archiving and re-presenting outside of the perpetual present of those platforms. The Facebook timeline is like a broken toilet, constantly flushing. The collective knowledge generated within a status updates that generates hundreds of comments or a particularly active and focused group needs to be rescued from the planned forgetfulness of social media.”