Liquid Architecture is an Australian organisation for artists working with sound. 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 first sovereign owners of this unceded country. We pay our respects to their Elders, past, present and becoming.
PO Box 12315
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.
We may update this policy from time to time by publishing the new version on our website.
THE TYPES OF PERSONAL INFORMATION LA COLLECTS
The following are examples of the types of personal information that may be collected by the organisation.
- 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 installed 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 e-newsletter via the website, in-person or other means.
- Registering for LA’s programs of events (eg. performances, workshops, lectures)
- Purchasing a ticket for LA’s programs of events via a ticketing system (eg Eventbrite)
- 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:
- For communicating about upcoming programs and services offered by LA and its partners.
- For documenting LA performances and events.
- To make recommendations to web-site visitors about other services that LA offers that may be of interest.
- To communicate to LA audiences on behalf of other arts or government organisations offering information regarding their products.
- To communicate with staff, artists, associates, volunteers, or Board Members.
- Notifying changes of program details.
- To market upcoming events.
- For market research purposes.
- To market online services.
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 email@example.com
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.
OUR DATA SECURITY POLICY
LA takes steps to prevent the personal information it holds from misuse, loss, interference or unauthorised access. Personal information is never stored in cloud servers.
LA will also destroy or de-identify personal information when it is no longer needed, or when requested.
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: firstname.lastname@example.org