Liquid Architecture

Investigations: Eavesdropping Polythinking Ritual Community Music Why Listen?
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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.


Teiji Ito: Music For Film


Liquid Architecture and Brisbane International Film Festival present a world first performance of film scores by singular Japanese-American composer-performer Teiji Ito.

Teiji Ito (1935-1982) collaborated widely with key figures of the New York underground culture from the mid 1950s to the early 1980s, perhaps most significantly with legendary experimental filmmakers Maya Deren (to whom he was married from 1960) and Marie Menken. After meeting Deren aged 20 in 1955 his career as a composer and performer was radically accelerated. Ito creating the soundtrack to Deren’s 1958 film The Very Eye of Night, and their collaboration arguably culminated with his incredible score to Deren’s best known film, Meshes of the Afternoon, composed 16 years after the film was made but applied retrospectively to it.

Much of Ito’s work was not rigorously scored to paper, but rather driven by a set of guiding ideas that would be collected and later recorded directly to multi-track tape. For this reason, performances of his music today are incredibly rare. For this unique event, researcher and musician Michiko Ogawa has transcribed Ito’s original recordings in detail, and assembled a group of musicians to realise a world first live performance of 6 of Ito’s most well-known film scores set to the 16mm films of Deren and Menken.

Michiko Ogawa is a Japanese clarinetist, and a doctoral candidate at the University of California, San Diego, where she she is undertaking research on work and life of Teiji Ito. She is in the beginning stages of writing a biography of Ito’s life.

Teiji Ito: Music For Film will be performed by Ogawa and her long-term collaborator Samuel Dunscombe, a performer-composer who works in a diverse range of areas, from field recording to Romanian spectral music. They will be accompanied by Nat Grant, Kaylie Melville, Sam Pankhurst, James Rushford and Kim Tan. Film prints from the National Film and Sound Archive, Canberra.


Passage to Nirvana [solo clarinet - no film] 9’

Passage to Nirvana for solo clarinet is rare amongst Ito’s output for being fully, meticulously notated. The origins and function of this piece are not clear - a note at the bottom of the score reads “for film,” but there is no surviving evidence for what film it was to accompany, who the director was, or if a film was ever made in the first place.

Meshes of the Afternoon, 1943 [dir. Maya Deren and Alexander Hammid] 15’

Meshes of the Afternoon is perhaps the most significant work that forms both Ito and Deren’s ouvre. Ito’s composition was added to the film, in 1959, 16 years after it was made. Deren’s circular narrative structure repeats visual motifs which question reality through what appears as hazy, dreamlike recollections of the unconscious. Ito’s score, a set of leitmotifs tie individual instruments to specific visual elements of the film. The instrumentation and musical materials of the score reference traditional Japanese music such as Gagaku.

Bagatelle for Willard Maas, 1961 [dir. Marie Menken] 5’

Bagatelle for Willard focuses mainly on details from the fountains, wrought-iron fences, and sculptures in the gardens of Versailles. In Ito’s score a naive elegance is created between guitar and clarinet, interrupted by lively gestures from cymbals and zither highlighting the drama of Menken’s cinematography.

Dwightiana, 1959 [dir. Marie Menken] 4’

In Dwightiana Teiji Ito’s upbeat soundtrack accompanies a 16mm stop motion animation of dancing everyday objects, such as pebbles, beads, shells, and rice over colour pencil drawings from the artist Dwight Ripley. This extremely light-hearted short film was made to cheer up a sick friend. The soundtrack matches the films playful imagery both in the improvisatory way Ito combines musical influences from North and South America, and the Caribbean; and in the way that sections of improvised material were then formed into a larger composition in a cut-up fashion.

The Very Eye of Night, 1958 [dir. Maya Deren] 15’

The Very Eye of Night was Maya Deren’s last completed film, her first collaboration with Ito and the most celebrated of his compositional works. This film, shown in photographic negative, depicts a group of dancers reenacting a series of astrological relationships against a starry sky in solo, duo, and group scenes. Within the soundtrack individual instruments give voice to the characters on screen directly mapping a one to one relationship between body and composition.

BIFF is presented by Queensland Art Gallery | Gallery of Modern Art (QAGOMA) with thanks to Principal & Founding Sponsor, Screen Queensland and Major Government Partner, Screen Australia.



ANNOUNCING: Disclaimer Journal

ANNOUNCING: Disclaimer Journal

ANNOUNCING: Disclaimer Journal

ANNOUNCING: Disclaimer Journal