Liquid Architecture

Investigations: Eavesdropping Polythinking Ritual Community Music Why Listen?
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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.

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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.

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

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Events
A 1970 paint­ing by Woods, ​‘Pos­i­tive neg­a­tive’

Lecture: Sheridan Palmer, 'Disequilibrium: Presence/absence in the art of Tony Woods'

Buxton Contemporary  
Dodds St & Southbank Blvd
Southbank, VIC
6–8PM
FREE
(Histories and Theories of Sound)

As part of the ongoing lecture series, Histories and Theories of Sound, Discipline and Liquid Architecture present Dr Sheridan Palmer's 'Disequilibrium: Presence/absence in the art of Tony Woods', followed by discussion with Doug Hall AM.

During the 1960s the Tasmanian artist TONY WOODS (1940–2017) emerged as a rare talent in the Australian art scene. An advocate of modernism’s pluralism, his bold figuration, vigorous abstract formalism, irregular shaped canvases that often incorporated collage and the readymade, was a synthesis of American mid twentieth century avant-garde, Pop and counter-cultural mysticism edged with existential angst. This diversity was not so much a contradiction but a fluid enquiry into ideas that informed his analysis of visual representation.

When Woods began exhibiting on the Australian mainland he acquired an impressive collector base that included the American millionaire Harold Merz, the modernist architect Robin Boyd, Bernard Smith, Lord Talbot of Malahide, with Joseph Burke and Albert Tucker as avid admirers. These connections partly explain Woods’s award of a Harkness Fellowship to New York in 1967 (the last given to an Australian artist) and a guarantee of a Power Institute Cité des Arts International studio in Paris; he also hosted the American art critic Clement Greenberg on his Hobart visit in 1968. To all appearances, Woods’s reputation and success was sealed.

In the final months of his Manhattan residency, however, fire gutted his studio and he lost everything; his American dream a palpable absence that left him in a state of disequilibrium. Returning to Australia Woods slowly recovered and went about re-establishing his career and, while his artistic production expanded into a rich body of paintings, drawings, prints, video and sound works, he lacked validation from the art system and gradually retreated into seclusion. In this lecture I consider problems of inclusion and exclusion and why a talented artist like Tony Woods became peripheral. Paradoxically, this ‘negative freedom’ enabled him to explore alternative mediums and concepts of ‘error’ as a positive projection and absence as a productive presence. As an artist Tony Woods was ‘a laboratory of approaches that lies outside of —or in vital opposition to — quotidian and bourgeois structures of value and meaning’, in which his visual aperture revealed the undisclosed rather than the obvious in both real and abstract terms. Despite the art critic Patrick McCaughey once rating Woods as ‘perpetually promising’, a new generation of young artists from the late 1990s onwards recognized his artistic integrity, his invigorating cultural knowledge and the value of Woods’s empirical enquiries that complemented postmodernity’s instability.

DR SHERIDAN PALMER

Sheridan Palmer is an art historian, curator and biographer, who has published extensively in art and literary journals. She has degrees from the Victorian College of Arts, La Trobe University and a PhD from the University of Melbourne where she is an Honorary Fellow. Sheridan has worked in painting conservation, as independent art dealer and has curated The Goddess Grins: Albert Tucker and the Female Image at Heide Museum of Modern Art in 2007 and The Lake Hindmarsh Project, 2010, for which she received an Arts Victoria Creation Grant. She was awarded the National Gallery of Victoria Trustees Prize for sculpture (1973) and Joseph Brown Prize for drawing (1976) and as an art historian has been awarded numerous grants, including a Paul Mellon Centre for Studies in British Art research grant in 2012, a Harold White Fellowship at National Library of Australia in 2010, a Sidney Myer Arts Grant, 2009 and a Manning Clark CAL Residential Fellowship in 2009. She was shortlisted for the Hazel Rowley Literary Fellowship in 2013 and the Australian Book Review Raft Fellowship in 2016.

Her books include Dean Bowen: Argy Bargy; Centre of the Periphery: Three European Art Historians in Melbourne, which is a major study of the establishment of art history in Australia, and Hegel’s Owl: The life of Bernard Smith, among others. She is currently researching post-war Australian modernism.

DOUG HALL AM

Doug Hall graduated from the Victorian College of the Arts and was director of two regional galleries before moving to Brisbane in 1987 where until 2007 he was director of the Queensland Art Gallery. Under his directorship the Queensland Art Gallery expanded its international focus and developed a strong engagement with Asia, especially through his initiative, the Asia-Pacific Triennial of Contemporary Art. He conceived the idea for the Gallery of Modern Art and oversaw its development. He was Commissioner at the 53rd and 54th Venice Biennale from 2009 to 2011, and was appointed Associate Professor and Honorary Fellow in the School of Culture and Communications, Faculty of Arts at the University of Melbourne.

Doug initiated, negotiated and curated many major exhibitions from within Australia and internationally and continues with academic and advisory roles in Australia and abroad. He has worked for cultural organisations including the Visual Arts Board of the Australia Council, as a member of the Australia International Cultural Council (Department of Foreign Affairs); and as a member of the Asia Art Council, Guggenheim Museum (New York), Executive Committee of the Australia-Thailand Institute, Australian Japan Foundation, Sherman Contemporary Art Foundation, Gertrude Contemporary and Chairman of the Michael Buxton Collection.

He is widely published in newspapers, magazines and journals and wrote art criticism for the Australian Financial Review. His forthcoming book will be published in 2019. Hall was awarded the University of Queensland’s Doctor of Philosophy honoris causa for his contribution to the visual arts in Queensland and in 2001 he was awarded a member of the Order of Australia. In 2006 he was made a Chevalier dans l‘Ordre des Arts et Lettres by the Republic of France.

This event is co-presented by Discipline and Liquid Architecture as part of the ongoing public lecture series ‘Histories and Theories of Sound’.

Discipline is a publisher and contemporary art journal edited by Helen Hughes and David Homewood. Alongside artist pages and interviews, it publishes research essays about contemporary Australian art, and histories and theories of contemporary art as a global industry or phenomenon.

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