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
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.
THE TYPES OF PERSONAL INFORMATION LA COLLECTS
The type of information Liquid Architecture collects and holds includes (but is not limited to) personal information, including sensitive information, about:
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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.
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LA may also collect personal information over the phone, in person or by electronic correspondence in order to undertake its regular administrative operations
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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:
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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):
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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.
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At any time, any person has the right:
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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.
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
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 firstname.lastname@example.org.
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 email@example.com.
HOW DOES LA HANDLE FEEDBACK AND COMPLAINTS?
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.
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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.
HOW LONG WILL IT TAKE FOR MY COMPLAINT TO BE RESOLVED?
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.
WHAT IF I’M NOT HAPPY WITH THE 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).
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TICKET REFUNDS AND EXCHANGES
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.
Lin Chi-Wei: Tape Music
67-71 Johnston St
3PM - 5PM
Lin Chi-Wei is a legend of Taiwanese sonic art, whose practice incorporates folklore culture, noise, ritual, and audience participation. He is a founding member of Zero and Sound Liberation Organization, pioneering groups for experimental music in Taiwan, and in 2012 published Beyond Sound Art: The Avant Garde, Sound Machine and the Modernity of Hearing, which analyses the aesthetic condition of sound and art in a post-colonial East Asian context.
At Collingwood Art Precinct, Chi-Wei will initiate an iteration of his participatory sound work, Tape Music, in which vocal volunteers pass a ribbon score containing 666 words from hand to hand, reading and vocally responding as the ribbon passes, becoming a ‘human tape machine’.
LA: We have observed a certain tension weaving through your work Tape Music. This piece represents an ongoing attempt by you to explore how a group of humans may be assembled into a ‘machine of sound’, but it does this, critically, through a polyphonic process that is constitutively social, tactile and communal (i.e. kind of ultimately and irreducibly human)? How do tensions between the machinic and human play out in your work?
“Well, I think these are exactly the essential questions the Tape Music raises.
Between 2004 to 2013, Tape Music has only been played by audiences. There have been around 100 sessions and more than 2000 people have participated. People from primary schools, temples, churches, factories, local governments, neighborhoods, folk music groups, empowerment groups, training groups, and also visitors and audiences of museums, music festivals, bars and venues. As you can see, there are individual participants (such as in the museum) and people from different communities in different occasions.
For me the interesting thing is to see how these temporal gatherings turn into an aural community in a very short time! As a rule of the game I normally give no explanation nor instruction to the audience. I just pass the ribbon with embroidered words made of meaningless phonetics (without pitches) to the audiences and see what is going to happen. As you can imagine, people must react to it firstly by direct instinct (not every audience likes to do the performance by themselves), then by seeing how the others react to it, and trying (or refusing to try) to find a role in the playing.
To give an example: In 2007 in a Tape Music session in a local community in Stockholm, most of the (elder) people had naturally found their own place in the harmonic series, while a younger girl made annoying cat noises all the time (which was not part of the notation). In the artist talk after the performance, the participants were delighted when I told them they made probably the most “harmonic” performance I had ever experienced. They started a long talk after my comments concerning the ideas of the Swedish term lagom (which means ‘just the right amount’). The idea may also relate to the Viking practice of equal food divisions as well as modern Swedish democracy! For me personally, I think the meowing girl was doing her job perfectly.
There are also contradictory cases: In a Japanese electronic factory of Shenzhen, China, a folk music group (supported by the factory owner, whose members are also labourers in the enterprise) were invited to participate in the session in their repetition room. Throughout, no-one emitted a word, they just silently transferred the ribbon without making any noise for 15 minutes. The fact is that they were paid to work as musicians-labourers, and if there is no instruction given, they just won’t work ….. It is essential to see how the community organises and also how they don’t organise….In Hong Kong I found another radical version of Tape Music for no-one ever to hear or dare to do!
If we consider society as a machine, Tape Music could probably work as a kind of sonore diagram of the inner circuits.”
Print material designed by U-PWe acknowledge the Wurundjeri, Boonwurrung, Taungurong, Dja Dja Wurrung and the Wathaurung people of the Kulin Nation as the custodians of the land in which this event takes place, and we recognise that sovereignty was never ceded. We pay our respects to their Elders, past, present and emerging.