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.
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LIQUID ARCHITECTURE SOUND INC
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Fujui Wang; Snawklor; Sage Pbbbt, Maria Moles, Michael McNab & Josten Myburgh; Hammers Lake with Rama Parwata
317 Brunswick St
Expanding the invisible void with a silent glow, Hyper Transmission is a synthesis of surrounding sonic and visual contemplation performed by legendary Taiwanese sound art pioneer Fujui Wang. All random noise sound waves are captured in real time and magnified as hyper-mobile image moments in front of your very eyes. Through kinetic hypersonic speakers, tightly-controlled audio beams strafe the space, threading through audience ears like lasers refracting between mirrors, a phenomenology of spectacular perceptual exchange.
Fujui Wang has played a key role in establishing sound art as an artistic field in Taiwan. In 1993 he founded the country’s first experimental record label and publication, Noise, and today he is an assistant professor of New Media Art at the Taipei National University of the Arts. Fujui Wang and Yi Lu established Soundwatch Studio in Taipei in 2011 as a space to promote the creation, exhibition, performance and renovation of experimental audio art. Since then, they have hosted performances, workshops, collaborations and dialogues between local, national and international practitioners of sound.
Contemporary visual artists Dylan Martorell and Nathan Gray have been making improvised electro-acoustic audio as Snawklor since 1996. Their unique sensibility constantly shifts it’s instrumentation while retaining a character based around a shimmering palette of metallic percussion, tones, accidents, interruptions and animal noises.
Snawklor began as the curatorial premise for the 50 Record Players exhibition, a series of gallery sound art shows focusing on Australian emerging, outsider and ultra-amateur compositions presented on lathe cut records. Their own musical practice began by DJing these records (each of which ended in a locked groove) and combining them with sound sculptures, broken CD players and found instruments.
Eventually they settled into a sound based around randomising samples from their diaristic collections of personal field recordings epitomised in their 2003 release It Would Have Lived Here and 5 other albums recorded between 2003 and 2010, most of which are now available on the Free Music Archive. During the early 2010s they worked with drummer Duncan Blachford on live shows before shortly returning to the duo format and winding up living on different continents.
This year they met on the island of Kythera and began recording on a rooftop overlooking an idyllic Greek valley full of goats and waterfalls. Using synths, samples, live processing, miniature percussion and multiple speaker arrays these recordings will form the basis for their live shows in 2017 as well as their first album in 5 years.
Taking inspiration from Tuvan and Mongolian overtone singing, Inuit throat singing, sound poetry, feminist, queer and trans praxis, insight meditation practice, industrial shamanism and more, Sage Pbbbt performs an ongoing exploration of extra-normal vocal techniques.
Maria Moles explores the electronic manipulation of rhythmic structures played on the drum set, focusing on blending both acoustic and electronic instruments and objects. The aim is to transcend the listener by creating a dense sound world that uses repetitive sustained melodies coupled with scattered rhythms.
Kinetic interactions with collaborators, objects and site form the improvisational material of Melbourne-based percussionist Michael McNab. He is interested in human and non-human presence as impetuses for sound making, and in spatiality and anti-virtuosity (walking around and dropping things) as ways to shake up audience-performer relationships.
Josten Myburgh is aPerth-based musician, influenced (mostly) by early music, fluxus, footwork, hip-hop, Wandelweiser, free improvisation and folk music, and interested (broadly) in gentleness, silence, repetition, counterpoint, juxtaposition and nonsense.
Hammers Lake is a trio comprising Judith Hamann (cello) and Carolyn Connors (voice), who are joined by a different percussionist/drummer each performance. Previous drummers have included: Maria Moles (MIUC, 2016); Vanessa Tomlinson (Tectonics Adelaide, Adelaide Festival 2014); Kjell Nordeson (UCSD, San Diego 2014); Peter Neville (MIUC, 2013); Sean Baxter (MIUC, 2012); Evelyn Morris (MIUC, 2012); Joe Talia (MIUC, 2012); Matthias Schack-Arnott (MIUC, 2012) and Robbie Avenaim (2011).
For this performance Hammers Lake will be joined by renowned Melbourne drummer Rama Parwata.