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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Catherine Ryan: Chained to the Rhythm
CHAINED TO THE RHYTHM - CATHERINE RYAN
“Chained to the Rhythm” will be a tongue-in cheek performance lecture that uses pop songs about rhythm in order interrogate a tension in the notion of rhythm. Rhythm is, on the one hand, a natural process: our bodies are regulated by heartbeats, regular breaths and circadian clocks. On the other hand, the rhythms of work, of needing to attend jobs and labour, are imposed on us by our present economic order. There is a certain violence to this process: as such, many pop songs about rhythm include a reference to force: for Katy Perry, we are “Chained” to the rhythm; for Grace Jones, we are “slaves” to the rhythm. This violent rhythm is also pleasurable: we bend ourselves to the strictures of neoliberal time demands because we desire the augmented capacities they give us. Like the kick drum that drives a great pop song, there is pleasure in forcing oneself to be a good, productive subject. Samples from ‘lowbrow’ pop songs will be used as serious lessons about the discipline imposed on the subject by the neoliberal order. Is there an escape from the endless demand to labour and produce? Is there an alternative “Rhythm of the Night”, as the early 90s Eurodance group Corona claims? Could rhythm ever be a “dancer”, as Snap! Promises?
SOME DAYS - MELODY PALOMA
“Some Days” is a durational work of poetry, hosted by Stale Objects dePress over the course of 2018. Each day the poet adds to and sporadically edits a public Google Doc, inviting readers to witness the poem being written, to access the work in various states of disorder and disarray, and to engage with the temporality and mess of process. In this performance, Paloma will continue to explore the strain of poetry as ‘work’ under neoliberalism, reaching for positive forms of progress as she reads the ‘completed’ work while running the beep test. Revelling in the dissonance of poetry at the hands of the state, Some Days interrogates and punctures neoliberal tools, pressing for the endurance and perseverance of artistic practice.
THE BRIG (1964) - JONAS MEKAS (PROGRAMMED BY THOMAS RAGNAR)
The play The Brig was first performed by The Living Theatre on May 13, 1963. Written by former US marine Kenneth H. Brown, it draws from Brown’s own experience of being held in military prison for thirty days, for being absent without leave while serving in Japan in the 1950s. The Living Theatre’s performance embodied the daily routines and degrading rituals of prisoners and guards – in Mekas’s words it was “so precisely acted that it moved with the inevitability of life itself … it was a real brig, as far as I was concerned.” Mekas witnessed the last public performance of the play, undertaken in direct resistance to attempts by the IRS to shut down The Living Theatre’s location on 14th Street, that led to many audience and theater members being arrested. Possessed by the idea of documenting The Brig on film – what he saw as equivalent to a news reporter gaining access to a real Marine Corps prison – Mekas instigated a further defiant performance of the play at a temporary location on 42nd Street, the actors performing for the camera over the course of one night. The resulting film, an act of civil disobedience, restricts even further any awareness in the viewer that what is being documented is anything other than the real brutalities and humiliations of military life. The footage is tightly contained and claustrophobic, a precise reconstruction in cinematic terms of the experience of being in the play.
This screening is in honour of the recent passing of filmmaker, poet and artist Jonas Mekas. The Brig (1:06mins) will be screened continuously in Gallery Two from 12–6pm.This public program is proudly supported by the City of Yarra, through the Small Project Grants Program.
Entry to Seventh through the rear lane. Unfortunately Gallery One and 7UP are not wheelchair accessible. Gallery Two and the Night Screen are wheelchair accessible through the shop on Gertrude Street, please contact Gallery Mangers to arrange entry: email@example.com