Liquid Architecture

Investigations: Eavesdropping Machine Listening Polythinking Ritual Community Music Why Listen?

Read now: Disclaimer Journal


RP Boo, Mirasia b2b Kuya Neil
Miscellania, Friday 3 June


a slippery anatomy of resonant negative volumes


Raja Kirik, Female Wizard, Rama Parwata, and special guests
The Toff, Friday 10 June


New in the journal:
Orifice Oriented Ontologies


Krell and the Destruction of Worlds
Meat Market Stables, Sunday 22 May


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.



Andy Miller (Acting Chair)
Naomi Velaphi (Vice Chair)
Mark Nolen (Treasurer)
Leana Papaelia (Secretary)
Jennifer Barry
David Chesworth
Danny Butt
Cat Hope
Monica Lim
Naretha Williams


Georgia Hutchison (Executive Direction, CEO)
Joel Stern (Artistic Direction)
Debris Facility (Education)
Liang Luscombe (Publishing)
Rohan Rebeiro (Concerts)
Mara Schwerdtfeger (Digital)


Madeleine Collie (Food, Sound, Justice)
James Parker (Machine Listening)
Sean Dockray (Machine Listening)
Laura McLean (Capture All)
Mehak Sawney (Capture All)
Xen Nhà (disorganising)
Lana Nguyen (disorganising)


We welcome conversation, ideas and feedback at any time.
Journal, Podcast

104/35 Johnston Street
Collingwood VIC 3066

ABN 73128090237
ASN A0050679K

Privacy Statement

Privacy Statement

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.

We may, from time to time, review and update this Privacy Policy to take account of new laws and technology, changes to Liquid Architecture’s operations and practices and to make sure it remains appropriate to the changing legal environment.


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.

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

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.

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.

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

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.

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.

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

Feedback & Complaints

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

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.

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.

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
Not-for-Profits Commission
Advice team: 13 22 62
Online Form

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.


Freedom As _____

Percy Grainger

From Wentworth to know-your-worth: desires are indulged through our freedoms, but how enjoyable, or emancipated, is a freedom that is always already dictated?
Grainger Museum
13 Royal Parade, Parkville,
Melbourne, VIC
6PM - 10PM

‘Freedom’ is to choose without the choice to not choose.

Fundamentally, freedom is the condition of being free. It may be seen as a duality between oppression and the oppressed. Here, freedom is observable as curtailment, limit, restriction; a matter of presence and absence.

Freedom may also be possessed through acts of self-agency. At times there are triumphant moments when it appears the oppressor has become the suppressed. Uncovered, the mouth speaks, revealing that it was there all along. Now, freedom begins to appear obtainable through assertion, interference, deviation.

Yet these variances of freedom become confused in the face of one’s own freedom. How do we separate an act of freedom from an act of self-interest? From Wentworth to know-your-worth: desires are indulged through our freedoms, but how enjoyable, or emancipated, is a freedom that is always already dictated?

Musically, freedom may be observed in multiple ways; through the relationship between conductor and performer, the act of free improvisation as self-expression, and the agency of performance transformed into musical forms of self-interest.

This program takes as its point of departure the music and ideas of autodidactic Australian composer and polymath Percy Grainger, specifically his sense of ‘freedom’ expressed in the works and experiments that he called free music. In a series of specially commissioned performances utilising Grainger’s recently rebuilt free music ‘machines’ a group of artists and musicians offer their own multifaceted readings of Grainger’s ‘freedom’, inviting the audience to consider what the term might signify today.

Eric Demetriou & Herbert Jercher

HJ: ‘The real thing that has interested me during my time as an arts practitioner is to feel the essence of each discipline during the time of engagement. My kinesthetic sense, informed by my proprioceptive awareness, enables me the freedom to play during a performance. Natural and artificial design constraints influence my choice of adaptive strategies whilst interacting with semiotic elements during a performance.

A point of readiness exists when Eric and I engage in sound art. This in situ performance artwork is the culmination of progressive authorship, collated by institutions and individuals who have generously passed on their acquisitions, now evident in our current expressions of interest’.

Eric Demetriou completed a Masters of Fine Art at the Victorian College of the Arts in 2013 and is a current artist in residence at Gertrude Contemporary. Recent solo exhibitions include: Sanaterrarium: performance art festival for frogs and crickets, Gertrude Glasshouse Gallery, (2017); An Afternoon with Herb Jercher, Lindberg Galleries (2016); Four minutes and thirty-three seconds in cat years, TCB Art inc (2015), and Flee Flu, West Space, (2014). Demetriou is an active member of Melbourne groups TBP, Germlock, and frequent collaborator with sound artist and whip cracker, Herbert Jercher.

Herbert Jercher is a sound artist and pioneer in the design of sound sculptures, installations and acoustic systems. His works embrace a wide range of contexts and needs, whether for school or community playground, foyers and atriums of shopping centres or hotels, the home garden, a city, street performance or museum courtyard. His works are environmentally friendly as well as fun to play and listen to.

Eric Demetriou and Herbert Jercher, collaborate in a sonic exploration of the Australian art of whip cracking; performing improvised music with various Australian stock whips, beat frequencies and drum implosions.

Antonia Sellbach with Julie Burleigh & Alison Bolger

AS: ‘The origin of these three scores began with the letters of Percy Grainger. I was interested in taking something literal, like a typed letter and re-coding it into a series of coloured dots and dashes. This process of redaction freed the words from their literal reading, and in turn linked them to abstraction – something very much entangled within language and communication. The act of redaction has historically had more associations with censorship than freedom and yet the interpretation of a letter, its punctuation and words into a new language of dots and dashes and then again into music, contains a multitude of new freedoms that also align with Grainger’s concept of free music.’

Antonia Sellbach is a Melbourne-based artist. Her work explores abstraction in relation to thought, sensation and serial decision-making. Often modular in nature, Sellbach’s paintings and sculptures create partitions and parts, sets and versions, work made to be configured and reconfigured. Sellbach has exhibited widely and her work is held in private collections, both within Australia and internationally. Her work has appeared in magazines and journals including Primer, Est and Vogue Italia. Sellbach is currently completing a PhD exploring the connections between Wittgenstein’s concept of Language Games and Contemporary Abstraction.

Antonia Sellbach is also a musician with Melbourne bands Love of Diagrams and Beaches. Sellbach is also a founding member of LISTEN, a feminist collective that seeks to gain further visibility for women within the Australian Music Underground. She is currently a lecturer at Melbourne Polytechnic in Creative Arts.

Julie Burleigh is an ex-People Person and ex-The French. Occasional recorder session muso with bands (Beaches, Free Time, The Ancients). Burleigh has played solo on and off for many years, utilising op-shop keyboard, guitar pedals, loop pedals and recorder.

Alison Bolger is a Melbourne-based musician. She is a founding member of Beaches, Panel of Judges, Clag and was a longstanding member of Sleepy Township. Alison has played in improvised sound ensembles such as Hi God People, Exhaustion and Actual Holes. She has recently performed solo shows and produced recordings under the moniker of Heavy Epic.

Is There A Hotline?

Avid ‘flow’ practitioners and DIY enthusiasts Jen Tait and Jen Callaway call out to the cosmos using an assemblage of percussive objects and electronica, evoking transportive atmosphere, psychic storms and quiet retreats.

Is There A Hotline? will incorporate Grainger’s concepts of musical scale freedom (microtonal and free flowing pitch intervals), automation (via electronic looping and self-composing ornamentation), as well as distinctively embellished practical clothing design. A transcendent stargazing waltz and audience stimulation via Grainger-styled devices may also feature.

A project curated by Mino Peric for Liquid Architecture, Grainger Museum and VCA & MCM for Nite Art 2017.

The Grainger Free Music Instruments used in these performances were produced by artist Michael Candy and musician and composer Rosalind Hall as part of ‘Experiments in Freedom’ in 2016.



Anthony Lyons and Paul Fletcher

freedom lying between or beyond tempered notes, rational rhythms and traditional instrumental forms

Antonia Sellbach with Julie Burleigh and Alison Bolger

The process of redaction freed the words from their literal reading

Eric Demetriou and Herbert Jercher

the sonic exploration of the Australian art of whip cracking

Is There A Hotline?

assemblage of percussive objects and electronica, evoking transportive atmosphere, psychic storms and quiet retreats

Mark Pollard

reconstructing mercury


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