Liquid Architecture

Investigations: Eavesdropping Machine Listening Polythinking Ritual Community Music Why Listen?

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 traditional owners and sovereign custodians of the land on which we are situated, the peoples of the Woiwurrung and Boonwurrung language groups. We extend our respect to their Ancestors and all First Peoples and Elders past, present, and future.



Andy Miller (Interim Chair)
Naomi Velaphi (Vice Chair)
Mark Nolen (Treasurer)
Leana Papaelia (Secretary)
Monica Lim
Jennifer Barry
David Chesworth
Cat Hope
Danny Butt
(recent alumni) Michael Graeve
(recent alumni) Hannah Fox
(recent alumni) Kristen Smith
(recent alumni) Bebe Backhouse


Georgia Hutchison (Executive Direction, CEO)
Joel Stern (Artistic Direction)
Debris Facility (Education)
Alisa Blakeney (Program)
Liang Luscombe (Publishing and Communication)
Rohan Rebeiro (Concerts)


Danni Zuvela
Mathew Spisbah
Autumn Royal
Nathan Gray
Anabelle Lacroix
James Parker
Sean Dockray
Laura McLean
Mehak Sawney
Xen Nhà
Lana Nguyen


Zenobia Ahmed
Atong Atem
Britt d’Argaville
Bridget Chappell
Dennis Grauel
Jacinta Keefe
Audrey Lam
Matt Lenz
Gian Manik
Alex Margetic
Paul Mylecharane
Keelan O’Hehir
Brennan Olver
Mara Schwerdtfeger
Carmen Sibha-Keiso
Jacqui Shelton
Lauren Squire
Jon Tjhia


We welcome conversation, ideas and feedback at any time.
Journal, Podcast

104/35 Johnston Street
Collingwood VIC 3066

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 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.

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

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.

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 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.

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

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

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.

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.

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

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

Kyoto Art Center
Yamabushiyama-cho 546-2
Nakagyo-ku, Kyoto 604-8156

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

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。



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.

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.

Sat, 15. Sep 2018
Caitlin Franz­mann + Mis­bach Daeng Bilok + Tomoko Momiyama

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.

Sat, 15. Sep 2018
Masamitsu Araki + Natasha Tontey + Yuya Tsuka­hara + Wukir Suryadi

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 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


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

Instrument Builders Kyoto is organized by Kyoto Art Center; co-curated by Yoko Kawasaki, Mami Katsuya, Joel Stern, Kristi Monfries; and presented by Kyoto Art Centre, Liquid Architecture, The Volcanic Winds Project.

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

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