Info

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.

staff

Joel Stern

CEO / Artistic Director Joel Stern is a curator, researcher, and sound artist, concerned with theories and practices of sound and listening. He is the Artistic Co-Director of Liquid Architecture, a leading Australian organisation that stages encounters and creates spaces for sonic experience and critical reflection on systems of sonic affect, at the intersection of contemporary art and experimental music. Stern is part of OtherFilm, an artist collective driven by a central curiosity about the limits of the moving image. He has initiated the experimental residency Instrument Builders Project in 2013. Stern is a PhD candidate in Curatorial Practice at Monash Art, Design and Architecture, where he teaches Sound (in the Space of Art).

Danni Zuvela

CEO / Artistic Director With Joel Stern, Danni is Artistic Director/CEO of Liquid Architecture. Since 2004, Danni has co-directed the artists’ collective OtherFilm (co-founded with Joel Stern [Melbourne] and Sally Golding [London]). In 2013 she joined forces with the Gold Coast-based artist-run gallery The Walls, where worked as the Secretary, Curator and Deputy until 2018. At The Walls, she led programming and strategic initiatives, and she continues to generate socially-engaged experimental projects on the Gold Coast. Danni has an academic background, with a research PhD on experimental film and art history, teaching extensively into her field, and publishing critical writing across a range of publications. Danni’s research informs her curatorial work with interests in feminism, activism, ecology, language and performance.

Georgia Hutchison

CEO / General Manager Georgia works across creative disciplines with communities, businesses, cultural institutions and policy-makers. Her education and experience spans arts management; industrial design with a social, sustainable and systemic approach; curatorial and cultural leadership. For the last fifteen years she has worked between universities, studio and non-profit environments—most recently researching artist run economies with All Conference; and communicating the built environment with U-P. As an artist Georgia performs and photographs encounters with material scenarios and social currencies.

Debris Facility

Administrator Debris is a speculative corporate entity working from one human body. The Facility entered into partnership with Liquid Architecture to oversee Administration in 2018 onwards. Participation in events organising alongside practice lead research and exhibition productions pushes Administration into an performative medium. Maintaining an active exhibition profile alongside residencies, teaching, collaborations and contracts, the Facility works to amplify it’s reach through the oscillation of signal to noise ratio’s of im/material contexts of exhibition production, media, performance,wearables, installation and interventions.

board

Jennifer Barry

CHAIR JENNIFER BARRY has over 25 years’ experience leading arts organisations, managing creative projects, consulting, producing the work of artists nationally and internationally, and curating public programs. Previous positions include: Manager of Public Programs at Federation Square, Executive Director of Shunpike (Seattle), Director/CEO of Footscray Community Arts Centre, Founder/Director of Keep Breathing, and Executive Producer/Co-CEO of Chunky Move, among others. As a consultant, Jennifer’s clients have included the Australia Council for the Arts, Arts Victoria, the City of Melbourne, the Australian Art Orchestra, and the Australian Network for Art and Technology, among others. She has served on numerous boards and industry panels and is currently Project Director for the Royal Children’s Hospital 150th Anniversary.

David Chesworth

MEMBER DAVID CHESWORTH 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, Chesworth has created installation artworks using sound, video, architecture and public participation. Exhibitions include ‘56th Venice Biennale (2015), ‘19th Biennale of Sydney (2014), ‘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, Sydney Biennale, 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 in Melbourne. David Chesworth joined the Liquid Architecture Board in 2015. David teaches Sound (in the space of Art) at Monash Art, Design and Architecture, where he recently completed his doctorate researching sonic framing and temporality with artwork experiences.

Hannah Fox

MEMBER Hannah Fox is an Artist, Curator and Creative Producer working in the fields of sound, public art, contemporary music and live art. For the last decade, Hannah has been working in partnership with Tom Supple under the name Supple Fox. The company’s portfolio of work has spanned a variety of self-initiated projects and more formal roles including Artistic Associates at Melbourne Festival where they curated the contemporary music program for four years, and more recently an ongoing role as full time Creative Associates for Dark Mofo. Prior to this, Hannah lived and worked in the UK for ten years working in programming for Glastonbury Festival, managing a large touring nightclub called Torture Garden and as the Head of Design for a UK based creative agency called Lavish; devising and producing performance work and programs for a broad range of clients from Mötley Crüe to the Tate Modern. Currently, Hannah is working in collaboration with Byron J. Scullin and Tom Supple to realise a new international presentation of “Clarion Call”, a large-scale outdoor sonic artwork commissioned by the SPILL Festival of Performance and 14-18 NOW as well as stepping into a new role with Dark Mofo as Associate Creative Director.

Michael Graeve

VICE CHAIR DR. MICHAEL GRAEVE is a sound and visual artist and educator. Michael joined the Liquid Architecture board 10 years ago at the time of incorporation in 2007 and was President and Chair from 2011-2017. Michael has been committed to artist-run culture, developing small arts organisation expertise first as a founding committee member of Grey Area Art Space Inc (1996 -1999) and then as board member and program manager at West Space Inc (2000 – 2004). He exhibits, performs, curates and teaches internationally and teaches in the Sound, Sculpture and Spatial Practice Department, Expanded Studio Practice, Honours and the MFA Program at RMIT University, and has previously taught at The School of the Art Institute of Chicago, Monash University, The Victorian College of the Arts and Victoria University.

Andy Miller

MEMBER ANDY MILLER 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.

Phip Murray

MEMBER PHIP MURRAY is an independent writer and curator, and a part-time academic in the School of Architecture and Design at RMIT where she lectures in the history/theory of art, design and architecture. Phip was Director of West Space from 2008–2012 and, prior to that, an Associate Producer for the Next Wave Festival. Phip has a particular interest in interdisciplinary art practice, and has curated projects such as Time Has Come Today, a program exploring sound, moving image and performance projects (West Space, 2012) and Tyger, Tyger, a new commissions series including projects by Philip Brophy, Constanze Zikos, David Chesworth, and Juan Davila (West Space, 2011-2012).

Mark Nolen

TREASURER MARK NOLEN is a Certified Practising Accountant with extensive experience in the creative industries sector. He is currently Management Accountant at the Australian Centre of the Moving Image, 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 Scottish Whisky soaking up some even finer tunes.

Kristen Smith

SECRETARY KRISTEN SMITH is a legal practitioner with over a decade of experience focused on large scale commercial litigation and class actions. She currently works as an Investment Manager for international litigation financier, IMF Bentham, having previously worked for Slater and Gordon in their Commercial and Project Litigation team. She has also worked at Dundas & Wilson (now CMS) in Scotland and as an Associate to the Supreme Court of Victoria’s Associate Justice Efthim. In 2004, she was awarded the Victoria Law Foundation Chief Justice’s Medal for Excellence and Community Service. She has previously served on the boards of the Australian Communities Foundation and the EastWeb foundation and is currently a member of the M.E.S.S advisory board.

technical

Bridget Chappel

SOUND

Charlie Freedman

VIDEO

Keelan O’Hehir

PHOTOGRAPHY

Paul Mylecharane and Matt Lenz (Public Office)

DESIGN & WEB

Benjamin Portas

MOTION

Jacqui Shelton

PHOTOGRAPHY

Lauren Squire

SOUND

Josh Watson

VIDEO

comrade

Elena Betros

Clare Cooper

Asher Elazary

Nathan Gray

Jason Heller

Anabelle Lacroix

Paris Lettau

Sarah Mccauley

Dr James Parker

Mino Peric

Anatol Pitt

Jessica Row

Emily Siddons

Sezzo Snot

Beth Sometimes

Mathew Spisbah

Cara Stewart

Darcy Wedd

Makeda Zucco

Ece Yavuz

Contact

info@liquidarchitecture.org.au
FB, IG, YT, SC

PO Box 12315
Melbourne
VIC 8006
AUSTRALIA

LIQUID ARCHITECTURE
SOUND INC
ABN 73128090237
ASN A0050679K

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.

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.
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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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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 does not collect any data associated with use of its website. LA does not use cookies and does not log IP addresses.

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.
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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.

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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 info@liquidarchitecture.org.au

WEBSITE

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.

Events

Lin Chi-Wei: Tape Music

Sun, 21. May 2017^{(Add to Cal)}

vocalists in a spiral formation pass a ribbon-score, singing as they go, generating a ‘human tape machine’

Collingwood Art Precinct
67-71 Johnston St
Collingwood
VIC
3PM - 5PM
FREE

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-P

We 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.

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