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.
NARETHA WILLIAMS (INTERIM CO-CHAIR) 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.
DANNY BUTT (INTERIM CO-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.
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.
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.
NAOMI VELAPHI (DIRECTOR) is an arts producer born on Whadjuk Noongar country, residing in Naarm (Melbourne). She strives to nurture artists’ work and practices exploring alternative narratives, radical thought and deep connection. Centred on producing the work of contemporary, diverse, and interdisciplinary artists her experience spans working for and amongst galleries, festivals, and performance spaces. Naomi has over ten 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 Senior Producer at Next Wave and has also held producing roles for a number of arts institutions including APAM, Arts House, The Abbotsford Convent, and Koorie Heritage Trust. Through her independent practice she aims to unearth honest and generous collaborations between artists, producers, curators, and presenters and create pathways for new work creation. Her curatorial interests are derived through her experiences as a woman of african and asian identities and the communities she represents. She holds a Masters of Arts and Cultural Management from the University of Melbourne and is a part of the Australia Council Arts Leadership Program 2020.
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.
CAT HOPE (DIRECTOR) is a researcher, composer, performer, songwriter, and noise artist. She is a flautist and experimental bassist who plays as a soloist and as part of other groups. She is the director of and performer in Decibel: a group focused on Australian repertoire, the nexus of electronic and acoustic instruments and graphic score realisations. In 2011 and 2014, Cat won the APRA|AMC Award for Excellence in Experimental Music, and for 2014 she was resident at the Peggy Glanville Hicks composers house, and is a Civitella Ranieri and Churchill Fellow. She is co-author of Digital Art – An Introduction to New Media (Bloomsbury) and Professor of Music at Monash University.
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)
Debris Facility (Associate Producer)
Liang Luscombe (Associate Editor - Disclaimer)
Casey (Nicholls-Bull) Jones (Digital Producer)
We welcome conversation, ideas and feedback at any time.
TW, FB, IG, YT, MX, SC
104/35 Johnston Street
Collingwood VIC 3066
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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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Jenny Hickinbotham: Sticks And Stones Will Break My Bones, But Words Can Totally Destroy My Mind!
The Nicholas Building
Room 14, Level 7, 37 Swanston Street
Melbourne, Victoria, 3000
Tuesday – Saturday, 12-6pm
‘Sticks And Stones Will Break My Bones, But Words Can Totally Destroy My Mind!’ is a new exhibition by artist and writer Jenny Hickinbotham, staged as part of Liquid Architecture’s annual Sound Series program at BLINDSIDE.
Opening Thu, 7. Apr 2022, 6–8pm
Performances, Sat, 9. Apr 2022, 4–6pm
Jenny Hickinbotham’s work encompasses writing, video, sculpture, and songs. This exhibition features a series of experimental song-poems, performed unaccompanied by the artist in her home, in Gisborne, regional Victoria, and presented in the form of a video, produced in collaboration with Joel Stern and Carmen-Sibha Keiso.
In these performances Hickinbotham inhabits multiple voices, perspectives and temporalities as she explores the epigenetic impacts of trauma, and the narratives of individuals swept up by the forces of history, institutions, and the places in which they live. Laced with humour, pathos, searing critique, and a powerful imagistic capacity, the songs are profoundly informed by the artist’s own childhood experiences, which resulted in diagnoses of developmental trauma, complex post traumatic stress culminating in the schizophrenia label in early adulthood. Jenny has ‘heard voices’ for most of her life and her work explores her ongoing struggle to challenge the institutional pathologising of these experiences. Understanding these internal voices, listening, giving meaning to them, singing them, and considering their relation to the ghosts of the past and present, is a preoccupation of Hickinbotham’s work.
Hickinbotham writes: ‘I really want to challenge the notion that ‘hearing voices’ is an illness, needing to be controlled, eradicated and sedated into oblivion, thereby reducing the person’s lived experience to denial and inner pain, forcing the person to live on/feed on that internal pain for the rest of their lives, unable to speak their truth or tell their story. My work pushes back against all this. It is a cathartic expression of exploratory story-telling, and in itself a form of recovery.’
An afternoon with Jenny Hickinbotham and Babs Rapeport
Sat 09. Apr 2022, 4–6pm
Join artists Jenny Hickinbotham and Babs Rapeport for an afternoon of music and conversation at BLINDSIDE in celebration of their concurrent exhibitions across the gallery’s two spaces.
Hickinbotham will perform songs featured in her video work, ‘Sticks And Stones Will Break My Bones, But Words Can Totally Destroy My Mind!’ accompanied on double bass by one of Australia’s leading improvisors, Samuel Pankhurst. She invites audience members to sing along, following printed lyric sheets, ‘in support of everyone troubled and contained by trauma and experiences of emotional distress.’
Rapeport will riff on their exhibition ‘I didn’t go to art school but I did go to Socialist-Zionist summer camp’, sharing anecdotes of the informal education they received and taught on bi-annual Jewish youth Movement camps through song, video and text.Every year since 2014 BLINDSIDE has invited Liquid Architecture to organise an exhibition under the banner ‘Sound Series’ by artists working in experimental ways with sound and listening. Featured artists have included Anthony Riddell, Félicia Atkinson, Gerard Crewdson, Matt Earle and Bridget Chappell among others.
Jenny Hickinbotham would like to thank Joel Stern and Debris Facility at Liquid Architecture, Mikala Dwyer at RMIT, Martina Copley at BLINDSIDE, and Rudi Williams, Carmen-Sibha Keiso, James Rushford, Mish Szekelyhidi and Steph Treesea for their support in the production of this work.
This commission is supported by the City of Melbourne, and Liquid Architecture's Experiments Fund.