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 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.
NARETHA WILLIAMS (INTERIM CO-CHAIR) 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.
DANNY BUTT (INTERIM CO-CHAIR) is Senior Lecturer in Interdisciplinary Practice at Victorian College of the Arts, University of Melbourne, where he is also Graduate Research Convenor for Design and Social Practice. 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.
ANDY MILLER (DIRECTOR) 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.
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.
NAOMI VELAPHI (DIRECTOR) is an arts producer born on Whadjuk Noongar country, residing in Naarm (Melbourne). She strives to nurture artists’ work and practices exploring alternative narratives, radical thought and deep connection. Centred on producing the work of contemporary, diverse, and interdisciplinary artists her experience spans working for and amongst galleries, festivals, and performance spaces. Naomi has over ten years of experience in the industry and has worked across all facets of arts production including curation, funding, and budget management and audience development. She is currently Senior Producer at Next Wave and has also held producing roles for a number of arts institutions including APAM, Arts House, The Abbotsford Convent, and Koorie Heritage Trust. Through her independent practice she aims to unearth honest and generous collaborations between artists, producers, curators, and presenters and create pathways for new work creation. Her curatorial interests are derived through her experiences as a woman of african and asian identities and the communities she represents. She holds a Masters of Arts and Cultural Management from the University of Melbourne and is a part of the Australia Council Arts Leadership Program 2020.
DAVID CHESWORTH (DIRECTOR) 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.
CAT HOPE (DIRECTOR) is a researcher, composer, performer, songwriter, and noise artist. She is a flautist and experimental bassist who plays as a soloist and as part of other groups. She is the director of and performer in Decibel: a group focused on Australian repertoire, the nexus of electronic and acoustic instruments and graphic score realisations. In 2011 and 2014, Cat won the APRA|AMC Award for Excellence in Experimental Music, and for 2014 she was resident at the Peggy Glanville Hicks composers house, and is a Civitella Ranieri and Churchill Fellow. She is co-author of Digital Art – An Introduction to New Media (Bloomsbury) and Professor of Music at Monash University.
MONICA LIM (DIRECTOR) 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 and Liquid Architecture as well as the Member’s Council for Musica Viva.
Georgia Hutchison (Executive Director, CEO)
Debris Facility (Creative Producer)
Rohan Rebeiro (Creative Producer)
Liang Luscombe (Editor)
Mara Schwerdtfeger (Digital Producer)
Casey (Nicholls-Bull) Jones (Digital Producer)
We welcome conversation, ideas and feedback at any time.
104/35 Johnston Street
Collingwood VIC 3066
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.
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The type of information Liquid Architecture collects and holds includes (but is not limited to) personal information, including sensitive information, about:
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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.
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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.
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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.
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Laniyuk and AM Kanngieser: Unwelcomed____
Each of us who is not Indigenous to this land is complicit in the ongoing process of its colonisation; of environments, animals and people. While capitalism teaches us to take the land for granted and to forget its autonomy, for the people whose land this is, our presence cannot be unfelt. In this workshop we ask: what does it mean to be unwelcomed on and by land?
Even the most well-meaning settler-coloniser inhabits this country thinking that our presence is benign or passive. But settlers move through and on land in ways that are fundamentally extractive, that position the world in service to us. White supremacy and anti Bla(c)kness brutally differentiate the experiences and conditions of settlement, and the same practices render the land fungible, commodifiable. Western science tells us that green space is good for our health so settlers flock to forests and rivers, traverse national parks, plant gardens and shape the soil, without questioning our place to do so. At the same time we profit off dispossession and ecocide, through economies of mining, fracking, industrial farming and land clearing. With each action, we enforce an idea of land existing entirely in relation to us - for our benefit alone. We ask the world to make us feel good and to sustain us, without permission and without deep knowing.
In this workshop we will consider how we individually and collectively inhabit this land. We will unfold what it means to be on land that never invited us. We will reflect on the presumptions of innocence and goodness that inform our everyday practices - the ways in which we avoid addressing ourselves and our daily complicities, the ways we disassociate ourselves, the ways we continue coloniser relations with or without intent. We will talk about the erasure that comes from generations of genocide and deliberate silencing. We will explore what it means to listen, even when we think there is nothing to hear. We will delve into feelings of what cannot be reconciled, where both staying and leaving might feel impossible.
This workshop will require an orientation towards discomfort and what is unknown, as a step towards combating the colonisation of minds, bodies and spirits that perpetuate the denial of Aboriginal sovereignty. Because of the nature of this workshop, we particularly encourage participants that have some familiarity with undertaking such work to apply - the conditions of the current time make it impossible to meet in person, which also affects the ways we can provide in-person support and care. As much of the workshop will be group work we encourage people to apply with a friend/s if they do not wish to work with people they might not be acquainted with as there is a responsibility for participants to actively listen to, and engage with, each other’s process. Groups will comprise 2-3 participants, however there is also the option to work alone if necessary.
The workshop will consist of two whole-group meetings at the beginning and the end of the series, and daily meetings in small groups over the week. Participants will be asked to undertake daily journaling, thinking and creative practices in response to questions and readings that we will provide. In the final workshop session, participants will report back on their process and present work from their journal.
The readings will draw only from Aboriginal and Indigenous authors and will include video and audio content. If participants have specific access needs please let us know in your application, and we will work with you to meet them. The workshop will take place over zoom.
Welcome by Uncle Dave Wandin
One. Wednesday 5 August 2020, 11am–1pm
Two. Wednesday 12 August 2020, 11am–1pm
Daily meetings will be arranged in small project groups between the two sessions.
Laniyuk is a Larrakia, Kungarrakan and Gurindji poet and writer. Her writing is centered in land, loss and resistance to Australia’s ongoing colonisation of Aboriginal lands.
AM Kanngieser is a white German / first generation Australian currently living on Boon Wurrung and Wurundjeri lands. They are a writer, facilitator and audio maker, working with silences, sounds, colonisation and environmental violence.
EXPRESSIONS OF INTEREST
Please note, this workshop is offered to 12 participants. Expressions of interest are due Tuesday 28 July 2020, To apply please send a short text (200 words) or audio note (2 min max) letting us know who you are and why you would like to take part to email@example.com
Unearthing or -un-ear-thing- is a new initiative extending Liquid Architecture’s work with experimental education and pedagogy.We acknowledge the people of the Kulin Nations as the custodians of the lands on which we operate, and recognise the multiple indigenous lands where participants live, work and study. Sovereignty was never ceded. We pay our respects to indigenous Elders, past, present and emerging.