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.
PO Box 12315
LIQUID ARCHITECTURE SOUND INC
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.
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. LA may also collect personal information over the phone, in person or by electronic correspondence in order to undertake its regular administrative operations.
The following are examples of how personal information may be collected by the organisation:
- 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
- Making an online enquiry
- Making an individual donation to LA
- Becoming a sponsor
- Submitting a proposal to LA
- Providing written feedback to LA
- If you become a LA Associate, Volunteer or Board Member
WHY PERSONAL INFORMATION IS COLLECTED
LA collects personal information in order to service the needs of its audience or clientele. 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. If you opt-in to become a LA e-newsletter subscriber you are giving us permission to send you information about upcoming programs and services offered by LA and its partners and your details may be retained and used for the following purposes:
- To make recommendations to visitors about other services that LA offers that may be of interest
- Notifying changes of program details
- To market upcoming events
- For market research purposes
- To market online services
vFor such further and other lawful uses in connection with LA’s activities consistent with this Privacy Statement
DISCLOSURE OF PERSONAL INFORMATION
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, unless required by law. LA may, however, contact the audience on behalf of other organisations to offer information regarding their products. These organisations may include, but are not limited to other arts organisations or government departments.
KEEP PERSONAL INFORMATION ACCURATE
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.
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
ONLINE COLLECTION NON-PERSONAL INFORMATION
When you look at this website, our Internet Service Provider makes a record of your visit and logs the following information for statistical purposes only – the user’s server address, the user’s top level domain name (for example .com, .gov, .au, etc), 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. No attempt is, or will be, made to identify users browsing activities except, in the unlikely event of an investigation, where a law enforcement agency may exercise a warrant to inspect activity logs.
DATA ACCESS AND FURTHER INFORMATION
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
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](http://nextwave.org.au/) x Liquid Architecture co-commission in partnership with The Tote, PRECOG is presented by Next Wave Festival 2018.
probing ideas of authenticity, the perpetuation of culture, tradition, and a ‘decolonial imagination’ - and questioning where this now resides.
'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.
[cries in Ancient Tagalog]
encapsulating concepts of community-building, agitation, and the intersections of queerness, transness and Islam.
dead-pan humour + conceptualised kinetic works
straddling and celebrating contrasting cultures, popular and ancient.
reclaiming your voice under oppression and capitalism.
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'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
Australia's first lady of garage, grime and bass.
holding down the coveted 1-3AM Saturday residency at Melbourne's Laundry.
examining the idea of being dissolved into a predetermined culture, exploring and reacting to exoticistation and otherness.
multidisciplinary artist, writer and sometimes DJ
blend of rap and hip hop with bass music, world rhythms and thumping club tracks.
Straight-talking, deck-spinning, hostess-provocateur
decolonises the party with tracks from First Nations musicians and producers who are “experimenting across genres and spitting heavy truths”.