Liquid Architecture

Investigations: Eavesdropping Polythinking Ritual Community Music Why Listen?
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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.

staff

Georgia Hutchison
DIRECTION

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
CURATION

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
EDUCATION

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
PRODUCTION

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.

comrade

Danni Zuvela
RESEARCH
Mathew Spisbah
CONCERTS
Autumn Royal
EDITOR
Edward Beaver
Elena Betros
Clare Cooper
Asher Elazary
Nathan Gray
Jason Heller
Anabelle Lacroix
Paris Lettau
Sarah McCauley
Petina McLaughlin
Dr James Parker
Mino Peric
Anatol Pitt
Jessica Row
Emily Siddons
Sezzo Snot
Beth Sometimes
Cara Stewart
Darcy Wedd
Makeda Zucco
Ece Yavuz
Henry Pyne
Hannah Wu
Mara Schwerdtfeger

board

Jennifer Barry
CHAIR
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
VICE CHAIR
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
SECRETARY
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
TREASURER
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
BOARD MEMBER
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
BOARD MEMBER
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
BOARD MEMBER
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
BOARD MEMBER
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
BOARD MEMBER
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.

technical

Atong Atem
PHOTOGRAPHY
Martina Capurso
VIDEO
Bridget Chappell
SOUND
Charlie Freedman
VIDEO
Keelan O’Hehir
PHOTOGRAPHY
Paul Mylecharane and Matt Lenz (Public Office)
DESIGN
Benjamin Portas
MOTION
Jacqui Shelton
PHOTOGRAPHY
Lauren Squire
SOUND

Contact

We welcome conversation, ideas and feedback at any time.

info@liquidarchitecture.org.au
FB, IG, YT, SC

104/35 Johnston Street
Collingwood VIC 3066
AUSTRALIA

LIQUID ARCHITECTURE
SOUND INC
ABN 73128090237
ASN A0050679K

Privacy Statement

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Events

Sarai x LA: Capture All


How might experimental practices of sound and listening be mobilised as resources for understanding and intervening in questions of power, capture, and extraction? What aesthetic and political possibilities emerge by investigating sonic practices in relation to both domestic and urban space and their network interfaces?

Throughout 2021, Liquid Architecture (Melbourne) and Sarai (Delhi) will collaborate to support six artists, scholars, and writers based in India and Australia through a series of creative and critical workshops, intensives, and dialogues. Capture All sets out to investigate the sonic at a moment of accelerating surveillance capitalism that enmeshes individuals and communities in networks of capture and control.

This opportunity is contextualised and grounded in Sarai’s pioneering work on critical questions of media and information, urbanism, infrastructure, media archaeology, data and law, the commons, and the public domain in South Asia, and in Liquid Architecture’s ongoing research project ‘Machine Listening, a curriculum’, a critical platform for writing, interviews, music and artworks investigating the dystopian and utopian effects of algorithmic, machinic, networked and technologised listening on our social and political lives.

The Capture All program extends and departs from Sarai and Liquid Architecture’s work via research curators Laura McLean (Liquid Architecture) and Mehak Sawhney’s (Sarai) interests in forms of sonic capture in settler-colonial and post-colonial contexts. Capture All will consider Australia and India’s complex relationships to coloniality and extraction, and contemporary sonic transformations across physical and digital spaces in both countries. Within these contexts, we are interested in the ways user data is extracted, exploited, monetised, and used to govern user behaviour. Equally we are also interested in public and private sound; evolving uses of mobile phones and social media; the idea and reality of the ‘smart city’; uses of voice interfaces, biometrics, and sonic databases; forms of forensic listening; the economics of data-labour and listening-labour; the production and politics of artificial intelligence; music cultures and streaming; new acoustic ecologies; and sound and listening as modes of evasion and resistance.

In the midst of the profound mediatisation and turbulence of interpersonal relations - particularly in the wake of pandemic-induced lockdowns that have altered our online and offline, local and global engagements - this project aims to critically inhabit so-called ‘immaterial’ spaces and consider the value and agency of our online and offline togetherness.

We are seeking expressions of interest from artists, scholars, musicians, programmers, and writers who are interested in how experimental practices of sound and listening can help us understand the entangled networks we live, work, and play in, and develop new forms of critique and intervention. The selected cohort will meet online for workshops, talks, readings, and listening sessions, facilitated by the curators and special guests. Each participant will be encouraged to develop an aspect of their practice or research related to these conversations, and supported in making a public presentation of their work at the conclusion of the program. It is intended that works, ideas, and research developed through Capture All will inform and connect with future iterations of Liquid Architecture’s Machine Listening program at the level of public outcomes.


Program partners

For the past 20 years, Liquid Architecture and Sarai have operated at the forefront of media and sound practice and research.

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. Its program stages encounters and creates spaces for sonic experience, and critical reflection on sonority and systems of sonic affect.

The Sarai Programme, Centre for the Study of Developing Societies (CSDS), has been South Asia’s most prominent and productive platform for research and reflection on the transformation of urban space and contemporary realities, especially with regard to cities, data and information, law, and media infrastructures.


CALL FOR EXPRESSIONS OF INTEREST

Liquid Architecture and Sarai invite expressions of interest from individuals with artistic, musical, research, writing and/or curatorial interests to participate in Capture All. Six applicants will be supported with AU$1,500 each, as a fee for workshop participation and related project research and development. Applications will be accepted via Australia Council for the Arts. Liquid Architecture and Sarai will assess applications with support from Australia Council staff. Please check the general eligibility requirements on the Australia Council website.

KEY DATES
Event dates: April–August 2021
Applications close: 15 January 2021
Notification: February 2021

SUPPORTING MATERIAL
• 500 word Expression of Interest
• 2 page CV
• Selected sample of work

SELECTION CRITERIA
You are required to respond to the following selection criteria:
• The impact of the project in developing future opportunities between Australia and India and enhancing relationships between the two countries;
• Demonstrated understanding of, and commitment to, discursive modes of research and practice.
• Evidence of an expanded understanding of listening and sound.
• The timeliness of this opportunity and a demonstrated ability to plan and deliver on any international outcomes that may arise.

DIVERSITY AND ACCESS
The Australia Council, Liquid Architecture and Sarai encourage applications from applicants who identify as First Nations, from socially, culturally and linguistically diverse backgrounds, people with disability, and people living in regional and remote areas.

Our programs and processes are designed for accessibility and best use by a diverse demographic. Please contact us at least 2 weeks prior to the closing date to discuss your access and support requirements.

APPLY NOW
Visit Australia Council for the Arts↗ to apply.

Capture All is a Liquid Architecture and Sarai partnership, supported by Australia Council for the Arts through its International Development team.

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