Liquid Architecture (LA) is Australia’s leading organisation for artists working with sound and listening. LA is based on Wurundjeri Woi Wurrung Country, at the Collingwood Yards art precinct. Our program sits at the intersection of contemporary art and experimental music, expressed through a range of presentation, publishing, research and commissioning activities.
BACKGROUND
Born in the complex artistic climate of the late 1990s, LA is a millennial imagination of Australia’s vibrant experimental sound culture. Founded in 1999, over the following 15 years, under the direction of Nat Bates, LA grew from being a boutique local event into Australia’s leading festival of experimental, electronic, improvised and avant-garde music.
In 2014, the organisation pivoted with an injection of ideas and resources, and the appointment of Joel Stern and Danni Zuvela as the organisation’s artistic leadership. The duo dissolved the festival model in favour of something more open, unpredictable and experimental: a year-round, curatorial program of boundary-pushing public events, happenings and situations untethered to any one discipline, ideology or format.
Forever expanding and evolving to meet our horizons, the cultural institution we know today as Liquid Architecture is fuelled by the ideas and energies of our team and augmented by the expertise of our board and advisors.
Under the new dynamic leadership of Kristi Monfries and Lucreccia Quintanilla alongside Creative Producer Rohan Rebeiro, Programs Coordinator Ronen Jafari, the new direction will expand on this legacy to build strong foundations and relationships with sound experimentations from First Nations, Diasporas, Asia and the Pacific.
Grounded locally but working globally, LA is a dedicated platform for artists engaged in experimental sound practice, sustained and energised through conversation and research, and realised in collaboration with people in our community 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.
Team
BOARD
DANNY BUTT (CHAIR) is Senior Lecturer in Interdisciplinary Practice at Victorian College of the Arts, University of Melbourne, where he is also Coordinator of Research for Design and Production. 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 and is co-convenor of the Asia Pacific Artistic Research Network. As a Certified Management Consultant (CMC) he worked for intergovernmental agencies such as United Nations Development Programme and ASEAN on new media and development and was editor of the book Internet Governance: Asia Pacific Perspectives (Elsevier/UNDP 2006). He works with the Auckland-based art collective Local Time. He moved from Gadigal country in Sydney to Port Chalmers / Koputai, Aotearoa New Zealand in 1993, performing improvised sound and releasing recordings through the 1990s with Peter Stapleton and Kim Pieters in the groups Rain and Flies Inside the Sun (with Brian Crook); with Michael Morley in the Tanaka-Nixon Meeting; and as Cobweb Iris.
MONICA LIM (CO-CHAIR) 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 as well as the Member’s Council for Musica Viva.
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.
NARETHA WILLIAMS (MEMBER) 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.
GAIL PRIEST (MEMBER) is a sound artist and writer based on Dharug and Gundungurra land (Katoomba, NSW). Her work spans soundtracks for dance, theatre and video, solo electro-acoustic performance as well sound installations for gallery contexts, both solo and in collaboration. She has performed her live compositions and exhibited sound installations nationally and internationally including in Japan, Hong Kong, Germany, France, Norway and the Netherlands. In 2015-16 she was awarded an Emerging & Experimental Arts Fellowship from the Australia Council. She has undertaken numerous radio commissions and releases music on her own label Metal Bitch Recordings as well as Flaming Pines, Endgame Records and room40. She curates events and exhibitions and writes fictively and factually about sound and media art, working for RealTime magazine for over 15 years. She has been on the board of Performance Space (2011-2014), and a peer assessor for the Australia Council. She has just completed a PhD in creative sound theory at UTS. www.gailpriest.net
ANDY MILLER (MEMBER) 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.
REBECA SACCHERO (MEMBER)
Rebeca Sacchero is a Producer with extensive experience across multiple Metro Melbourne Inner North Local Government Areas. Rebeca understands the local government context whilst also having relationships and experience in small to medium arts orgs. She has been working in the space of community engaged practice and is passionate about creating arts access for under-represented communities. She has a strong track record of successful projects with youth, the LGBTQIA+ community, CALD communities and seniors. She has worked across visual arts, performing arts and digital media, with a range of government and private stakeholders. These include major festivals, local and state Government, ARI’s, schools, community health orgs, and social enterprises. She completed a degree in Art History and Curatorship at Monash University in 2017 and in 2019 was selected for Leadership Victoria’s LGBTQIA+ Leadership program. She also runs her own community building electronic music events in which she has toured international artists, and is a DJ.
DAVID CHESWORTH (MEMBER) 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.
PATRICK HARTONO (MEMBER) Born in Makassar 1988, Patrick Gunawan Hartono is an Indonesian electroacoustic composer and audiovisual artist. He earned a BMus in Composition (Cum laude) from Rotterdam Conservatory with Minor Study at The Institute of Sonology, MMus in Sonic Arts from the University of London, Goldsmiths, and Live Electronic Course from IRCAM, Paris. In 2017 he won the ICMA audience award for his generative audiovisual piece “Matrix Studies” and the 1st Prize for WOCMAT 2019 International Electroacoustic Music Young Composer Award. Most of his works use the sound of Indonesian traditional music instruments, computer-generated sound/images, field recordings; transformed, rearranged, modulated by mathematical rules, real-time interaction, and controlled random operations. Patrick is currently based in Melbourne, Australia, to pursue a doctoral degree at the University of Melbourne while actively involved in local and international electroacoustic/computer music communities.
STAFF
Lucreccia Quintanilla and Kristi Monfries (Co-Directors)
Rohan Rebeiro (Creative Producer)
Ronen Jafari (Programs Coordinator)
LA ASSOCIATES
Tiarney Miekus (Associate Editor - Disclaimer)
Laura McLean and Suvani Suri (Associate Curators - Capture All)
Contact
We welcome conversation, ideas and feedback at any time.
info@liquidarchitecture.org.au
TW, FB, IG, YT, MX, SC
Journal, Podcast
104/35 Johnston Street
Collingwood VIC 3066
AUSTRALIA
LIQUID ARCHITECTURE
SOUND INC
ABN 73128090237
ASN A0050679K
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
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).
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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.
The Instrument Builders Project Kyoto: Circulating Echo
Instrument Builders Project is a forum for experimental work – at the intersection of contemporary art, sound, music, and performance – engaging artists from Australia and the Asia-Pacific. Each IBP culminates in new and experimental works in the form of ‘instruments’.
Instrument Builders Project Kyoto: Circulating Echo is the first iteration of the project to be organised in Kyoto, Japan. Over three weeks, artists with diverse practices and cultural backgrounds from Indonesia, Australia, and Japan will create musical instruments while sharing the processes of making these devices. In 2018, participating artists include Masamitsu Araki, Misbach Daeng Bilok, Caitlin Franzmann, Tomoko Momiyama, Wukir Suryadi, Natasha Tontey and Yuya Tsukahara with practices spanning design, sonic art, and community-based music activities, all of which are avant-garde in nature yet also refer to a range of distinctive cultural traditions.
Building instruments together creates a platform for experimentation and intersections of diverse ideas. How are sound and musical instruments created? And how do these instruments reflect the ideas and perspectives of those who make them and play them, as well as those who listen and experience them?
Visitors are invited to witness these collaborations where experimentation and inspiration is transformed into inventive musical devices. The studio space where the artists share and test out their ideas will be open to the public, with a public program including a work-shop, talk, and a musical performance of these newly created instruments. The sounds created in this project ranging across the oceans from Indonesia and Australia to Japan will form circulating echoes that resonate here in Kyoto. Full program and live documentation via theinstrumentbuildersproject.com
The Instrument Builders Projectは、インドネシアとオーストラリアのアーティストによる、音や楽器に焦点をあてたコラボレーションプロジェクトとして、2013年からこれまで3回にわたり開催されてきたプロジェクトです。今回は、初めて日本・京都での開催。The Instrument Builders Project Kyoto – Circulating Echo-（ザ・インストゥルメント・ビルダーズ・プロジェクト・キョウト－循環するエコー－） と題し、インドネシア、オーストラリア、日本からアーティストを迎えます。アーティストとしての活動も、文化的バックグラウンドもさまざまなアーティストが、3週間にわたるプロジェクト期間の中で、「楽器を創作する」プロセスを共有しながら、新たな楽器創りに挑戦します。
「音」、そしてその音を発する媒体としての「楽器」は、どのように創作する者や演奏する者、あるいは聞く者、体験する者の思考や視点を反映し、生み出されていくのでしょうか。造形芸術、パフォーマンス、サウンドアート、コミュニティに根ざした音楽活動など、先鋭的かつ伝統をも参照するフィールドで活躍するアーティストたちが共に取り組むその過程では、実験精神があふれ、多様なアイディアが交差し重なり合う場が生まれるでしょう。
アーティストがアイディアを共有し、試みを繰り返すスタジオの公開、ワークショップ、トーク、創作された楽器によるパフォーマンスを通して、新たな実験や発想が「楽器」という形で生まれるコラボレーションに、ぜひお立会いください。インドネシア、オーストラリアから日本にまで拡張する本プロジェクトで生まれる音は、循環するエコーとなり、この京都の地で響くことでしょう。
Public Program パブリックプログラム
Open Studio
Tue, 4. – Sun,16. Sep 2018
The instrument-making process is open to the public. Visitors can observe the artists working collaboratively in the studio space.
Exhibition
Wed, 12. – Mon, 17. Sep 2018
Examples of the instruments created in Kyoto and at previous IBP iterations will be exhibited throughout the Kyoto Art Centre.
Talk
Sat, 15. Sep 2018
Caitlin Franzmann + Misbach Daeng Bilok + Tomoko Momiyama
Workshop
September 15, 2018
Visitors are invited to join the artists in experimenting with different approaches to playing the new instruments, discovering new sounds and techniques.
Talk
Sat, 15. Sep 2018
Masamitsu Araki + Natasha Tontey + Yuya Tsukahara + Wukir Suryadi
Performances
Sun, 16. – Mon 17. Sept 2018
Artists will stage a performance with their collaboratively made instruments. Visitors are invited to experience the unique sounds of these one-of-a-kind musical devices. Kazuhisa Uchihashi will perform as a special guest among others alongside Instrument Builders Project artists.
INSTRUMENT BUILDERS PROJECTS est. 2013
Instrument Builders Project was initiated in 2013 by Kristi Monfries (Volcanic Winds) and Joel Stern (OtherFilm, Liquid Architecture) and held three times since with artists from Indonesia and Australia. The project is a collaborative endeavour that focuses on sound and musical instruments. For IBP, artists invent, build, present and perform using invented ‘instruments’ that mix traditional and contemporary forms including sound sculpture, installation, improvisation and performance. IBP centres on a shared residency model, with an accessible open studio / workshop, plus talks and performances punctuated by periods of creative free time.
IBP1 at iCAN, Yogyakarta [2013]
Rod Cooper, Dylan Martorell, Pia Van Gelder and Michael Candy (Australia)
Wukir Suryadi, Asep Nata, Ardi Gunawan and Andreas Siagian (Indonesia)
IBP2 at iCAN, Yogyakarta [2014]
Jompet Kuswidananto, Wukir Suryadi, Bagus Pandega and Mas Bowo (Indonesia)
Dale Gorfinkel, Tintin Wulia, Peter Blamey and Caitlin Franzmann (Australia)
IBP3 at National Gallery of Victoria, Melbourne [2014]
Lintang Radittya, Andreas Siagian, Wukir Suryadi, Tintin Wulia (Indonesia)
Peter Blamey, Michael Candy, Caitlin Franzmann, Pia Van Gelder, Dale Gorfinkel, Dylan Martorell (Australia)
In 2015 a commemorative publication was produced, with support from the Australia Indonesia Institute, with commissioned essays and artist pages covering the highlights of the program.
In 2018, IBP will be hosted by Kyoto Art Centre a an open studio with 9 artists (Australia, Indonesia, Japan) occupying KAC studios for 3 weeks – researching, experimenting, conceptualising, building through multiple collaborations and micro-projects. The program includes fieldwork, workshops, concerts, talks and exhibitions throughout the residency period.
The creative outcomes for Instrument Builders Project Japan at Kyoto Art Centre are manifold and consolidate the artistic merit of each methodology: in an exhibition context as sound installation works; in a performance context as unique sonic / musical works and compositions for newly invented instruments; and in a production context as they creation of new ‘sonic objects’ that may be incorporated into other works in the future. Full documentation from past Instrument Builders Project iterations via theinstrumentbuildersproject.com
Top: Artists working at IBP3 at National Gallery of Victoria, 2014
Bottom: MOS (Mountain Operated Synth), produced for the IBP by Michael Candy, Pia van Gelder and Andreas Siagian, 2014
Supported by the Agency of Cultural Affairs Government of Japan in the fiscal 2018, the Japan Foundation Asia Center Grant Program for Promotion of Cultural Collaboration, and the Kakehashi Foundation
