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 sovereign owners of the country where we live and work, and recognise that sovereignty has not been ceded. We pay our respects to their Elders, past, present and emerging.

staff

Georgia Hutchison
EXECUTIVE DIRECTOR
Joel Stern
CURATOR
Danni Zuvela
CURATOR
Debris Facility
ADMINISTRATOR
Mathew Spisbah
ASSOCIATE CURATOR
Autumn Royal
EDITOR

board

Jennifer Barry
CHAIR
Michael Graeve
VICE CHAIR
Kristen Smith
SECRETARY
Mark Nolen
BOARD MEMBER
Bebe Backhouse
BOARD MEMBER
David Chesworth
BOARD MEMBER
Hannah Fox
BOARD MEMBER
Andy Miller
BOARD MEMBER

technical

Martina Capurso
VIDEO
Bridget Chappel
SOUND
Charlie Freedman
VIDEO
Keelan O’Hehir
PHOTOGRAPHY
Paul Mylecharane and Matt Lenz (Public Office)
DESIGN
Benjamin Portas
MOTION
Jacqui Shelton
PHOTOGRAPHY
Lauren Squire
SOUND

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
Cara Stewart
Darcy Wedd
Makeda Zucco
Ece Yavuz
Henry Pyne
Hannah Wu
Mara Schwerdtfeger

Contact

We welcome conversations and ideas and feedback before, during and after our activities, at any time.

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.

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.

We may, from time to time, review and update this Privacy Policy to take account of new laws and technology, changes to Liquid Architecture’s operations and practices and to make sure it remains appropriate to the changing legal environment.

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:

  • 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 stored on your device that provides information to Google Analytics to give us statistical information about our visitors.

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
  • Visiting LA’s website
  • 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
  • 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
  • For communicating about upcoming programs and services offered by LA and its partners
  • For documenting LA performances and events
  • To communicate to LA audiences on behalf of other arts or government organisations offering information regarding their products
  • For artistic program research and organisational continuous improvement purposes
    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.

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.
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.

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:

  • 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.

YOUR RIGHTS
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 info@liquidarchitecture.org.au

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.

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.

ENQUIRIES
If you would like further information about the way Liquid Architecture manages the personal information it holds, please contact LA via info@liquidarchitecture.org.au.

Feedback & Complaints

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 info@liquidarchitecture.org.au.

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.
LA will not respond to feedback or complaints that violate State or Federal laws, or suggest that others do so; contain profane, violent, abusive, sexually explicit language or hate speech; or are bullying, harassing or disruptive in nature.
Where possible, complaints will be resolved at first contact with us. When appropriate we may offer an explanation or apology to the person making the complaint. Where this is not possible, we may decide to escalate the complaint to LA’s CEOs or Board. Where a person making a complaint is dissatisfied with the outcome of our review of their complaint, they may seek an external review of our decision.
We will take all reasonable steps to ensure that people making complaints are not adversely affected because a complaint has been made by them or on their behalf.
All complaints are confidential. We accept anonymous complaints if there is a compelling reason to do so and will carry out a confidential investigation of the issues raised where there is enough information provided.

HOW LONG WILL IT TAKE FOR MY COMPLAINT TO BE RESOLVED?
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.

LA will consider the matter closed if you indicate that you are satisfied with the response, or LA does not hear from you within 10 business days after sending you its response.

WHAT IF I’M NOT HAPPY WITH THE RESPONSE?
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.

If you are dissatisfied with the outcome of our review of their complaint, you may seek an external review of our decision (by the Australian Charities and Not-for-Profits Commission for example).
Australian Charities and
Not-for-Profits Commission
Advice team: 13 22 62
Online Form

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.

Events

Teiji Ito: Music For Film

Australian Cinémathèque, QAGOMA
Stanley Place
South Brisbane, QLD
6.30PM
$27.50–32.50

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.

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