Liquid Architecture

Investigations: Eavesdropping Polythinking Ritual Community Music Why Listen?
Help Support LA

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.


Joel Stern
Danni Zuvela
Georgia Hutchison
Debris Facility
Mathew Spisbah
Autumn Royal


Jennifer Barry
David Chesworth
Hannah Fox
Michael Graeve
Andy Miller
Mark Nolen
Kristen Smith


Bridget Chappel
Charlie Freedman
Keelan O’Hehir
Paul Mylecharane and Matt Lenz (Public Office)
Benjamin Portas
Jacqui Shelton
Lauren Squire
Josh Watson


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
Cara Stewart
Darcy Wedd
Makeda Zucco
Ece Yavuz


PO Box 12315
VIC 8006

ABN 73128090237
ASN A0050679K

Privacy Statement

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 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.
  • Connection information including linkages and referrals between people.
  • Financial information including amounts paid to LA, donated to LA, or received by LA.
  • When you visit our website, our server maintains an access log that includes the following information: the visitor’s IP address, the date and time of the visit to the site, the pages accessed and documents downloaded, the previous site visited, and the type of browser used.
  • When you visit our website, cookies are installed on your device that provides information to Google Analytics to give us statistical information about our visitors.


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.

  • Subscribing to LA’s e-newsletter via the website, in-person or other means.
  • Registering for LA’s programs of events (eg. performances, workshops, lectures)
  • Purchasing a ticket for LA’s programs of events via a ticketing system (eg Eventbrite)
  • Making an online enquiry.
  • Making an individual donation to LA.
  • Becoming a sponsor.
  • Submitting a proposal to LA.
  • Providing written feedback to LA.
  • Through agreements with programming partners to add addresses to our mailing lists.
  • Images of persons might be collected during documentation of an LA performance.
  • 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.


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.
  • For documenting LA performances and events.
  • To make recommendations to web-site visitors about other services that LA offers that may be of interest.
  • To communicate to LA audiences on behalf of other arts or government organisations offering information regarding their products.
  • To communicate with staff, artists, associates, volunteers, or Board Members.
  • Notifying changes of program details.
  • To market upcoming events.
  • For market research purposes.
  • To market online services.

All details are kept secure at all times and any individual may request their information is not used for direct marketing, research or any other purpose.


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):

  • To our insurer or legal advisors for the purpose of obtaining insurance coverage, obtaining professional advice, and managing risks.
  • To our payment services providers or financial institutions. LA will share transaction data only to the extent necessary for processing, refunding, or dealing with queries about payments.
  • In a situation where such disclosure is necessary for compliance with a legal obligation that LA is subject to, or in order to protect the vital interests of a person.

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.


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.


At any time, any person has the right:

  • 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


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.


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.



exploring non cognitive modes of understanding and saluting the magic and mythology of the club
The Tote
71 Johnston St
$23 / $28 + bf


(Ritual Community Music)

Naarm-based DJ/artists Sezzo and Makeda Zucco are interested in the history of experimental dance music as a basis for revolution. From techno to house, disco to garage, jungle to hip-hop, each genre began as a form of expression for the marginalised.

The club can be viewed as a type of social experiment – a Utopian testing ground for the celebration of individuality and togetherness in coexistence. Club dancing tends to be intuitive and spontaneous, and its appeal to the oppressed lies in its being socially created without reference to external authority.

Melbourne’s iconic Tote Hotel will be transformed into PRECOG, a dance party where invited artists combine electronic music, sound art, performance and installation, that foreground non-cognitive modes of understanding beyond Western coloniser logic.

Curated by SEZZO SNOT
Produced by Makeda with MATKA and Hannah Donnelly


Club Theory: two recombinant texts on the impossible space between theory + experience

It is easy to see why early dance music theorists saw the club as a utopian space. Clubbing looks like a metaphor for what is possible when we are with and responding to others while being totally ourselves: a communal celebration of each person’s desires and actions. But the Afrofuturist theories we use to frame the revolutionary potential of early genres of dance music like Chicago house, Detroit techno, and jungle have not lead to the free worlds they predicted. Apart from the persistence of post-colonial material inequality, each of these styles originating from marginalised, queer people of colour have been transformed into scenes dominated by white ‘bro-ppressors.’ Further, queerness is a coveted aesthetic, detached from its history as a hard-won political category and reconstituted as a club look. — DJ Sezzo Snot & Sally Olds, read the full essay on AQNB

Image by Claudia Greathead, ‘Boys pose with Renaissance statue’ (2015). Courtesy the artist.

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.

A [Next Wave]( x Liquid Architecture co-commission in partnership with The Tote, PRECOG is presented by Next Wave Festival 2018.




Amrita Hepi

probing ideas of authenticity, the perpetuation of culture, tradition, and a ‘decolonial imagination’ - and questioning where this now resides.

Angela Goh

'Predictable Dances' is an ongoing project where for each performance Angela engages the services of a psychic to predict what will happen during the performance.


encapsulating concepts of community-building, agitation, and the intersections of queerness, transness and Islam.

Brian Fuata x Enderie

dead-pan humour + conceptualised kinetic works

Claudia Nicholson

straddling and celebrating contrasting cultures, popular and ancient.

DJ Deeluscious

reclaiming your voice under oppression and capitalism.

Faene (Corin x Ju Ca)

Through non-verbal, alternate methods of expression, there is the capacity for ambient sound to further sculpt the presence of space by amplifying the experience of listening, so it is unavoidably present.


A squad of five young girls from the Fitzroy Clubhouse bursting with energy, confidence and fire. Best friends for as long as they can remember, they rap and sing about their lives and their future ambitions, covering everything from basketball to world domination.

Hannah Brontë

Hannah Brontë's practice explores female and indigenous empowerment. Her work is heavily influenced by rap, spoken word, and further focuses on the language of pop culture.


Making folklore out of reality TV

Lady Erica

Australia's first lady of garage, grime and bass.


holding down the coveted 1-3AM Saturday residency at Melbourne's Laundry.

Leila El Rayes x Poison

examining the idea of being dissolved into a predetermined culture, exploring and reacting to exoticistation and otherness.

Lucreccia Quintanilla

multidisciplinary artist, writer and sometimes DJ


blend of rap and hip hop with bass music, world rhythms and thumping club tracks.

Sezzo Snot

Straight-talking, deck-spinning, hostess-provocateur

Sovereign Trax

decolonises the party with tracks from First Nations musicians and producers who are “experimenting across genres and spitting heavy truths”.


ANNOUNCING: Disclaimer Journal

ANNOUNCING: Disclaimer Journal

ANNOUNCING: Disclaimer Journal

ANNOUNCING: Disclaimer Journal