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.
Georgia Hutchison (Executive Director, CEO)
Debris Facility (Creative Producer)
Rohan Rebeiro (Creative Producer)
Liang Luscombe (Editor)
Mara Schwerdtfeger (Digital Producer)
Casey (Nicholls-Bull) Jones (Digital Producer)
We welcome conversation, ideas and feedback at any time.
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.
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.
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.
THE TYPES OF PERSONAL INFORMATION LA COLLECTS
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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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.
- Subscribing to LA’s newsletter via the website, in-person or other means
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- Making an online enquiry
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- Becoming a sponsor
- Submitting a proposal to LA
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- 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
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:
- To communicate with staff, artists, associates, volunteers, or Board Members
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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):
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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.
PERSONAL INFORMATION ACCURACY
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:
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At any time, any person has the right:
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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.
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
LA takes steps to prevent the personal information it holds from misuse, loss, interference or unauthorised access.
LA will also destroy or de-identify personal information when it is no longer needed, or when requested.
If you would like further information about the way Liquid Architecture manages the personal information it holds, please contact LA via email@example.com.
Feedback & Complaints
Liquid Architecture (LA) is committed to respecting feedback and complaints and continually improving our processes. This policy is intended to ensure that we handle complaints fairly, efficiently and effectively. We encourage feedback as part of improving our audience experience and artistic programming.
You can provide feedback or make a complaint via email via email to firstname.lastname@example.org.
HOW DOES LA HANDLE FEEDBACK AND COMPLAINTS?
Upon receiving feedback or a complaint, LA will acknowledge receipt of the feedback or complaint; and request further information if necessary and advise how the issue is likely to be resolved.
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The time it takes to resolve a matter depends on the issues raised and any enquiries that need to be made. As a guide, LA aims to acknowledge written feedback and complaints within 1 business day of receipt (if an email address or phone number is provided); respond to all written feedback and complaints within 5 business days of receipt.
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If you are dissatisfied with LA’s response you are encouraged to contact LA to request an internal review. You should outline in writing why you are dissatisfied with the response; and the outcome you are seeking. LA will provide a further response within 10 business days of receiving this information.
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TICKET REFUNDS AND EXCHANGES
LA may provide an exchange or refund of a ticket if problems arise before, during or after an event. LA encourages our audience to try to resolve problems as soon as possible after they arise so that we have the best opportunity to find a solution.
Sisters Akousmatica was developed through Next Wave’s Emerging Curators Program with Liquid Architecture for Next Wave Festival 2016.
Featuring: eves, radio cegeste, Angie Garrick, Kate Geck, Rosalind Hall, Shani Mohini-Holmes and Ela Stiles.
Sisters Akousmatica is a city-scale radio orchestra. Over seven hours, seven female artists perform on the banks of the Yarra River, their sounds broadcast via radio transmission. Meanwhile, armed with a collection of portable radios, Radio Queens Julia Drouhin and Pip Stafford lead a procession through the streets of Melbourne, stopping at various locations along the way to tune in to each live performance.
Radiophonic transmission and the city soundscape fold together to become an acoustic web that changes hour by hour and culminates in an installation work at Signal, capturing, multiplying and archiving the performance works as a radiophonic acousmonium.
Focusing on the concept of akousma – sound removed from its source – Sisters Akousmatica creates a space through which to examine the radical possibilities of unconventional sound. The ephemeral world of radio offers a dialogue with the audience that is at once live and not-live, real and unreal.
Performance, walking tour and broadcast departs from Signal at 11AM. Listen live on 3CR 855AM or stream online at 3cr.org.au
Listening to my work conjures a feeling of a certain colour, perhaps a blue thats between blue and another, green and or purple. It wavers and moves between. My eyes are closed and this indigo landscape forms a silky texture in my mind. It slowly starts to rain and the colour dissipates into and oxen nothingness. The end.
The act of listening to my work is unpredictable, as I never play the same set twice or use all the same sounds or words, they are constantly changing and I myself don’t know what I am going to do each time I play live.
Drouhin and Stafford use radios, transmitters, crystals, hurdy gurdy and field recordings in acts of sound divination and occult listening. Their collective interests lie in radio arts, auditory-spatial practices and the intersection of gender and emergent art forms.
animation, textiles, installation, interactive, melbourne, australia m8
(I just want to create sound that transcends my horrendous personality)