Liquid Architecture

Investigations: Eavesdropping Polythinking Ritual Community Music Why Listen?
(×)

WHY LISTEN TO PLANTS?
Plants know worlds, they contain worlds and they make worlds

Liquid Architecture x RMIT Design Hub
Thu, 22. Nov–Sat, 08. Dec 2018
Exhibition, performances, talks, workshops, readings

RSVP for the reading group: texts, speakers, and co-ordinates to be announced.

Help Support LA
(close)
Info

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.

staff

Joel Stern
CEO / Artistic Director Joel Stern is a curator, researcher, and sound artist, concerned with theories and practices of sound and listening. He is the Artistic Co-Director of Liquid Architecture, a leading Australian organisation that stages encounters and creates spaces for sonic experience and critical reflection on systems of sonic affect, at the intersection of contemporary art and experimental music. Stern is part of OtherFilm, an artist collective driven by a central curiosity about the limits of the moving image. He has initiated the experimental residency Instrument Builders Project in 2013. Stern is a PhD candidate in Curatorial Practice at Monash Art, Design and Architecture, where he teaches Sound (in the Space of Art).
Danni Zuvela
CEO / Artistic Director With Joel Stern, Danni is Artistic Director/CEO of Liquid Architecture. Since 2004, Danni has co-directed the artists’ collective OtherFilm (co-founded with Joel Stern [Melbourne] and Sally Golding [London]). In 2013 she joined forces with the Gold Coast-based artist-run gallery The Walls, where worked as the Secretary, Curator and Deputy until 2018. At The Walls, she led programming and strategic initiatives, and she continues to generate socially-engaged experimental projects on the Gold Coast. Danni has an academic background, with a research PhD on experimental film and art history, teaching extensively into her field, and publishing critical writing across a range of publications. Danni’s research informs her curatorial work with interests in feminism, activism, ecology, language and performance.
Georgia Hutchison
General Manager Georgia works across creative disciplines with communities, businesses, cultural institutions and policy-makers. Her education and experience spans arts management; industrial design with a social, sustainable and systemic approach; curatorial and cultural leadership. For the last fifteen years she has worked between universities, studio and non-profit environments—most recently researching artist run economies with All Conference; and communicating the built environment with U-P. As an artist Georgia performs and photographs encounters with material scenarios and social currencies.
Debris Facility
Administrator Debris is a speculative corporate entity working from one human body. The Facility entered into partnership with Liquid Architecture to oversee Administration in 2018 onwards. Participation in events organising alongside practice lead research and exhibition productions pushes Administration into an performative medium. Maintaining an active exhibition profile alongside residencies, teaching, collaborations and contracts, the Facility works to amplify it’s reach through the oscillation of signal to noise ratio’s of im/material contexts of exhibition production, media, performance,wearables, installation and interventions.

board

Jennifer Barry
CHAIR JENNIFER BARRY has over 25 years’ experience leading arts organisations, managing creative projects, consulting, producing the work of artists nationally and internationally, and curating public programs. Previous positions include: Manager of Public Programs at Federation Square, Executive Director of Shunpike (Seattle), Director/CEO of Footscray Community Arts Centre, Founder/Director of Keep Breathing, and Executive Producer/Co-CEO of Chunky Move, among others. As a consultant, Jennifer’s clients have included the Australia Council for the Arts, Arts Victoria, the City of Melbourne, the Australian Art Orchestra, and the Australian Network for Art and Technology, among others. She has served on numerous boards and industry panels and is currently Project Director for the Royal Children’s Hospital 150th Anniversary.
David Chesworth
MEMBER DAVID CHESWORTH 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, Chesworth has created installation artworks using sound, video, architecture and public participation. Exhibitions include ‘56th Venice Biennale (2015), ‘19th Biennale of Sydney (2014), ‘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, Sydney Biennale, 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 in Melbourne. David Chesworth joined the Liquid Architecture Board in 2015. David teaches Sound (in the space of Art) at Monash Art, Design and Architecture, where he recently completed his doctorate researching sonic framing and temporality with artwork experiences.
Dr Michael Graeve
VICE CHAIR DR. MICHAEL GRAEVE is a sound and visual artist and educator. Michael joined the Liquid Architecture board 10 years ago at the time of incorporation in 2007 and was President and Chair from 2011-2017. Michael has been committed to artist-run culture, developing small arts organisation expertise first as a founding committee member of Grey Area Art Space Inc (1996 -1999) and then as board member and program manager at West Space Inc (2000 – 2004). He exhibits, performs, curates and teaches internationally and teaches in the Sound, Sculpture and Spatial Practice Department, Expanded Studio Practice, Honours and the MFA Program at RMIT University, and has previously taught at The School of the Art Institute of Chicago, Monash University, The Victorian College of the Arts and Victoria University.
Andy Miller
MEMBER ANDY MILLER 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.
Phip Murray
MEMBER PHIP MURRAY is an independent writer and curator, and a part-time academic in the School of Architecture and Design at RMIT where she lectures in the history/theory of art, design and architecture. Phip was Director of West Space from 2008–2012 and, prior to that, an Associate Producer for the Next Wave Festival. Phip has a particular interest in interdisciplinary art practice, and has curated projects such as Time Has Come Today, a program exploring sound, moving image and performance projects (West Space, 2012) and Tyger, Tyger, a new commissions series including projects by Philip Brophy, Constanze Zikos, David Chesworth, and Juan Davila (West Space, 2011-2012).
Mark Nolen
TREASURER MARK NOLEN is a Certified Practising Accountant with extensive experience in the creative industries sector. He is currently Management Accountant at the Australian Centre of the Moving Image, 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 Scottish Whisky soaking up some even finer tunes.
Kristen Smith
MEMBER KRISTEN SMITH is a legal practitioner with over a decade of experience focused on large scale commercial litigation and class actions. She currently works as an Investment Manager for international litigation financier, IMF Bentham, having previously worked for Slater and Gordon in their Commercial and Project Litigation team. She has also worked at Dundas & Wilson (now CMS) in Scotland and as an Associate to the Supreme Court of Victoria’s Associate Justice Efthim. In 2004, she was awarded the Victoria Law Foundation Chief Justice’s Medal for Excellence and Community Service. She has previously served on the boards of the Australian Communities Foundation and the EastWeb foundation and is currently a member of the M.E.S.S advisory board.

technical

Charlie Freedman
VIDEOGRAPHER
Keelan O’Hehir
PHOTOGRAPHER
Benjamin Portas
MOTION DESIGNER
Jacqui Shelton
PHOTOGRAPHER
Lauren Squire
SOUND ENGINEER
Josh Watson
VIDEOGRAPHER
Public Office
GRAPHIC DESIGN and DEVELOPMENT

comrade

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
Mathew Spisbah
Cara Stewart
Darcy Wedd
Makeda Zucco
Ece Yavuz

Contact

info@liquidarchitecture.org.au
FB, IG, YT, SC

PO Box 12315
Melbourne
VIC 8006
AUSTRALIA

LIQUID ARCHITECTURE SOUND INC
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.

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.

WEBSITE

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

The provision of all personal information is voluntary, but if that information is not provided LA may not be able to provide its clients with the products or services requested. LA reserves the right to change its Privacy Policy at any time. At any time LA clientele have the right to access, change or correct their personal information or the organisation’s privacy practices. To make a request or inquiry write to info@liquidarchitecture.org.au

Events

Teiji Ito: Music For Film

Tickets

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.

PROGRAM

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.

Partners

Artists
Archive