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
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.
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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.
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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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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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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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For the first time Liquid Architecture will be staging festival programs beyond the borders of Australia. In collaboration with LASALLE College for the Arts and in partnership with The Institute of Contemporary Arts Singapore, Liquid Architecture Singapore will feature performances, workshops and talks by Alessandro Bosetti, Emile Zile, Id M Theft Able and Half High alongside works by Singapore-based artists Black Zenith and Adam Marple, Per Magnus Lindborg, Steve Dixon, Joyce Koh and Bani Haykal.
The program has been curated in partnership with Darren Moore, and the school of music, LASALLE.
Liquid Architecture Lasalle 2014 will consist of a program of lectures, performances, presentations and discussion addressing the theme ‘The Ear is a Brain: Sound Beyond Sound’. The program explores the overlap between the lecture and the ‘sound artwork’ as contingent methodologies. It focuses on the core similarities between the two ‘mediums’, namely the production of a very specific listening subject.
The program will feature ‘traditional’ modes of lecture presentations alongside ‘experimental’ lecture-performances by leading artists who work with sound, language and voice. The curatorial approach is to integrate rather than segregate the two approaches in order to surprise, challenge and confound audience assumptions about ‘how’ we listen to and process different sounds. The festival will also commission a new sound installation work that explores the festivals theme.
Day 1 Friday 10 October 2014 Flexible Performance Space F102 Performances Start time 8pm
Adam Marple/Black Zenith/Andreas Schlagel
Theatre director Adam Marple, audio/visual duo Black Zenith, Andreas Schlagel on visuals and a hand-picked group of Lasalle Theatre Alumni presents Viewpoints, a collaboration that aims to blur the boundaries of performance, sound and visuals through improvisation and non-hierarchical collaboration. Viewpoints is a technique of improvisation that grew out of the post-modern dance world. The Viewpoints allows a group of performers to function together spontaneously and intuitively and to generate bold, theatrical work quickly. It develops flexibility, articulation and strength in movement and makes ensemble playing really possible. At its core it is giving the performer the tools to make choices in time and space.
Idm thefft able
Idm thefft able produces deeply singular experimental music performance primarily using vocals (grunts, screams, tongue-clicks, gurgling, chanting) in combination with sounds summoned from a range of amplified and unamplified objects, bent circuits, homebuilt keyboards and modified tape machines. Theftable’s approach to audio composition has been described as “available-ist” and “noise comedy”.
Emile Zile detourns everyday social media and search tools in dynamic live performances that offer new perspectives on these ready-to-hand tools, and the subtle ways these might condition contemporary experience.
Half High, the Sydney based duo of Lucy Phelan and Matthew P. Hopkins, will present a new live audio-visual performance for the Singapore leg of Liquid Architecture titled Shapeless Advice. This performance will follow from previous performances that incorporate video backdrops, lights, objects, and improvised sound such as ‘Calling Nina’. Characteristic of Half high’s performances is their ability to steer new age, ambient and transcendental motifs off course towards darker, more damaged and uncertain territories.
Day 2 Friday 11 October 2014 Flexible Performance Space F102 Panel Discussion 5-6pm
The Ear is a Brain: Sound Beyond Sound Co-chaired by Liquid Architecture curators Joel Stern and Danni Zuvela, the panel discussion will explore the 2014 Liquid Architecture theme; The Ear is a Brain: Sound beyond Sound.
Performances Start time 8pm
Alessandro Bosetti will present his work Mask Mirror for Liquid Architecture Singapore. Since 2008 Alessandro Bosetti has been developing an instrument and software patch. Live in concert he reorganizes speech for musical purposes with narratives that are about nothing and everything at the same time. With echoes to the baroque clumsiness of the first mechanical calculators by the likes of Gottfried Leibniz and Blaise Pascal, Mask Mirror is guided not by mathematical principles but rather mines the unfolding of language and its meaning in random sequences, built on blocks of different sizes (from phonemes and incidental mouth noises to lexical units and prosodic fragments). Bosetti samples his voice with prerecorded voices in an electronic ventriloquism.
Perceptualising the Climate in Times of Locust Wrath looks at data perceptualisation, specifically, real-time sonification and visualisation of climate records and predictions. Audiovisual perceptualisation offers a way to grasp large processes. Audification compresses time; a week of data can pass by in a second. The climate is rendered as a music, whose form is determined by the data: colour, gesture, timbre, intensity, harmony, hue, luminosity, and space. An example from a recent artwork will be accompanied by a practical demonstration of software for interactive sonification and a general discussion of perceptualisation techniques applied in art and science.
Steve Dixon/Joyce Beethuan Koh
Sonifiying and Dramatising T.S. Eliot’s ‘The Waste Land’ examines the collaborative process in the devising of a multimedia theatre production of T.S. Eliot’s poem ‘The Waste Land’ (1922), and discusses the interactions between its four key modalities • poetic text, live stage performance, complex sound design, and full-length film projection. It particularly focuses on the creation of the sound design for the performance and how this relates to the themes and sensibilities of the poem, its inherent sonorities, and what Eliot called ‘The Music of Poetry’ (1942).
+++ Sound Art Installation Commissioned by Liquid Architecture Singapore Sat 4 Oct – Sun 26
Oct Artist: Bani Haykal Title: Dormant Music + Opening date: Fri 3 Oct, 6.30pm Exhibition period: Sat 4 Oct – Sun 26 Oct Public programmes: http://www.lasalle.edu.sg/ICAS/Exhibitions-And-Public-Programmes Opening hours: 10am – 6pm (except 1.30 – 2.30pm), Tue to Sun Closed on Mon and public holidays Venue: Brother Joseph McNally Gallery, Level 1 Free admission
Considering sound as a social object, the project seeks to challenge assumptions about how we listen to and process sound, as well as explore how sound generates certain modes of thinking and behaviour. The exhibition reflects on these ideas, featuring an immersive sound installation by local artist Bani Haykal. Part of an ongoing series, Dormant Music+ uses the gallery as an acoustic chamber to house various de- constructed musical elements that visitors can interact with. By participating in the work, visitors are encouraged to reflect on cultures of listening in Singapore, and how these cultures are dominated by globalised forms of music. Bani Haykal will be joined by Tim O’Dwyer on saxophone and electronics in an interactive pre-show performance with the installation on 10th and 11th October from 7.30-8pm.
the point at which language becomes music, and at which music becomes a language
id m thffft able
i’d m thfft able, Id M Theft Able, I Dick M The F Table, i dick m the f’table, I Dm Theft Able, i dmth efta blé, i dmth efta ble, I’d M Thfft Able, I’d M Thfft Able, Ib M Theft Adle, Id M, ID M Theft Able, IDM Theft Table, Idm Theftable
Everyday detournment of social media and search tools in dynamic live performances that offer new perspectives on these ready-to-hand tools, and the subtle ways these might shape or condition our contemporary experience.
a slightly damaged form of ambience