Liquid Architecture

Folk, Noise, Electronics, Improvisation – how can radical music help us manifest new possibilities for thinking and imagine new ways of organising community through ritual behaviours, actions and languages? Across two nights, Liquid Architecture and Melbourne Music Week present a program of electronic music genealogies, featuring artists whose works span the 1970s to today and represent multiple generations of Melbourne’s experimental scene.

Todd Anderson-Kunert is an artist working with sound to explore themes of psychological and emotional human existence. His work attempts to communicate emotions, experiences, and situations that words can often fail to describe. Ahead of his performance for Liquid Architecture and Melbourne Music Week Todd discusses the freedom and creative limitations that mono-synthesis allows, the possibilities for spatial and temporal emotional responses through live performance, and his documentary, A Conversational Exploration of Sonic Practice, that reveals the immense learning that emerges from community conversations.

https://liquidarchitecture.org.au/events/liquid-architecture-x-melbourne-music-week

Ritual Community Music


10 - 11 December 2021

Miscellania, Melbourne

Presented by Liquid Architecture and Melbourne Music Week

Financial support from patrons at any level has a resounding impact on our work. You can support Liquid Architecture’s weekly podcast and our online journal Disclaimer, for new thinking and writing on listening and sound through a Patreon subscription, for as little as $5 a month.

https://www.patreon.com/liquidarchitecture

For the past 20 years, Liquid Architecture has been Australia’s leading organisation for artists working with sound and listening. LA investigates the sounds themselves, but also the ideas communicated about, and the meaning of, sound and listening.

Folk, Noise, Electronics, Improvisation – how can radical music help us manifest new possibilities for thinking and imagine new ways of organising community through ritual behaviours, actions and languages? Across two nights, Liquid Architecture and Melbourne Music Week present a program of electronic music genealogies, featuring artists whose works span the 1970s to today and represent multiple generations of Melbourne’s experimental scene.

Knotting is the collaborative project of electronic artist Matt Sabbadini and experimental vocalist Georgia Gamper. Born of an urge to explore the contrasts and similarities of both artist’s music, the duo create works of manipulated voice complemented by electro-acoustics and synthesis.

Image: Darvid Thor

https://liquidarchitecture.org.au/events/liquid-architecture-x-melbourne-music-week

Ritual Community Music


10 - 11 December 2021

Miscellania, Melbourne

Presented by Liquid Architecture and Melbourne Music Week

Financial support from patrons at any level has a resounding impact on our work. You can support Liquid Architecture’s weekly podcast and our online journal Disclaimer, for new thinking and writing on listening and sound through a Patreon subscription, for as little as $5 a month.

https://www.patreon.com/liquidarchitecture

For the past 20 years, Liquid Architecture has been Australia’s leading organisation for artists working with sound and listening. LA investigates the sounds themselves, but also the ideas communicated about, and the meaning of, sound and listening.

Folk, Noise, Electronics, Improvisation – how can radical music help us manifest new possibilities for thinking and imagine new ways of organising community through ritual behaviours, actions and languages? Across two nights, Liquid Architecture and Melbourne Music Week present a program of electronic music genealogies, featuring artists whose works span the 1970s to today and represent multiple generations of Melbourne’s experimental scene.

Tangerine is the project from musician Clementine Girard-Foley. Stepping away from the rigidity of her training as a classical pianist, Tangerine produces textural, bouncing compositions with precise clarity.

Ahead of her performance, Clementine discusses what to expect from her live set, the communities that formed her approaches to music making, and the duality of the piano and synthesiser.

https://liquidarchitecture.org.au/events/liquid-architecture-x-melbourne-music-week

Ritual Community Music


10 - 11 December 2021

Miscellania, Melbourne CBD

Presented by Liquid Architecture and Melbourne Music Week

Recently on Disclaimer, Philip Brophy deconstructed Francis Plagne’s discography, performances, writings, and approaches to music making. Francis Plagne is a musician from Melbourne whose work swings between songwriting and a variety of approaches, including group improvisation, instrumental abstraction, and domestic musique concrète.

Reflecting on his influences, recording process, and Brophy’s profile piece, Plagne talks through his entry into music making, his progression of albums, and experiences in collaboration.

https://disclaimer.org.au/contents/a-guitarist-with-a-museum-in-his-head-francis-plagne

Image: Rudi Williams

Financial support from patrons at any level has a resounding impact on our work. You can support Liquid Architecture’s weekly podcast and our online journal Disclaimer, for new thinking and writing on listening and sound through a Patreon subscription, for as little as $5 a month.

https://www.patreon.com/liquidarchitecture

Beirut-based artist Haig Aivazian works in a range of media, including performance, video, sculpture, and installation to unpack the of power and the hidden ideological flows within histories such as music, sports, street lighting, and predictive policing. Based on extensive research, his practice is at once exactingly precise and at the same time is an avalanche of sensory information. In conversation with writer Noah Simblist, Aivazian dissects a selection of his works that revolve around music and its relationship to nationalism and colonialism.

https://disclaimer.org.au/contents/haig-aivazian-collective-listening-and-the-nation-state

Image: Haig Aivazian

Financial support from patrons at any level has a resounding impact on our work. You can support Liquid Architecture’s weekly podcast and our online journal Disclaimer, for new thinking and writing on listening and sound through a Patreon subscription, for as little as $5 a month.

https://www.patreon.com/liquidarchitecture

As part of the exhibition Site & Sound: Sonic art as ecological practice at McClelland Sculpture Park and Gallery, Liquid Architecture was invited to stage a project critically responding to themes of sonic art, acoustic ecology, field recording, deep listening, and spatial sound, all understood in the context of profound environmental crisis and instability.

Drawn to convergences Tina Stefanou works with a wide range of collaborators to hear the voice of tangled things.

https://liquidarchitecture.org.au/events/unheard-relations

Image: Mitch Ross

Financial support from patrons at any level has a resounding impact on our work. You can support Liquid Architecture’s weekly podcast and our online journal Disclaimer, for new thinking and writing on listening and sound through a Patreon subscription, for as little as $5 a month.

https://www.patreon.com/liquidarchitecture

As part of the exhibition Site & Sound: Sonic art as ecological practice at McClelland Sculpture Park and Gallery, Liquid Architecture was invited to stage a project critically responding to themes of sonic art, acoustic ecology, field recording, deep listening, and spatial sound, all understood in the context of profound environmental crisis and instability.

Exploring resonance and grief around language Xen's piece Visiting Rights untangles how language can create connections across multiple places.

https://liquidarchitecture.org.au/events/unheard-relations

Image: Mitch Ross

Financial support from patrons at any level has a resounding impact on our work. You can support Liquid Architecture’s weekly podcast and our online journal Disclaimer, for new thinking and writing on listening and sound through a Patreon subscription, for as little as $5 a month.

https://www.patreon.com/liquidarchitecture

As part of the exhibition Site & Sound: Sonic art as ecological practice at McClelland Sculpture Park and Gallery, Liquid Architecture was invited to stage a project critically responding to themes of sonic art, acoustic ecology, field recording, deep listening, and spatial sound, all understood in the context of profound environmental crisis and instability.

A Hanley’s practice is interested in listening as an affective practice and the possibilities of sound as an expression of human and non-human exchange. This comes through in their piece SUNKLAND.XYZ, in which field recordings of the Carrum Carrum Swamp and surrounding areas of the McClelland site uncover the history of the movement of water.

https://liquidarchitecture.org.au/events/unheard-relations

https://disclaimer.org.au/contents/a-hanley

Image: A Hanley

Financial support from patrons at any level has a resounding impact on our work. You can support Liquid Architecture’s weekly podcast and our online journal Disclaimer, for new thinking and writing on listening and sound through a Patreon subscription, for as little as $5 a month.

https://www.patreon.com/liquidarchitecture

Over the last two decades, Clare Cooper has brought together thousands of people to collaborate on community initiatives, creative approaches to governance, collaborative composition, speculative design, and critical listening.

Here, in line with Jim Denley’s profile on Clare, published on Disclaimer, Clare talks through memories of sound and listening, the beginnings of playing the harp and guzheng, futuring, and the multitude of organising and improvising that has been present throughout her career. Spanning disciplines, countries and communities, Clare’s work is rooted in the sociability of improvisation and it’s capacity to encourage compassion and radical acts of trust.

https://disclaimer.org.au/contents/the-test-of-time-clare-crim-cooper

Image: Keelan O'Hehir

Financial support from patrons at any level has a resounding impact on our work. You can support Liquid Architecture’s weekly podcast and our online journal Disclaimer, for new thinking and writing on listening and sound through a Patreon subscription, for as little as $5 a month.

https://www.patreon.com/liquidarchitecture

For the past 20 years, Liquid Architecture has been Australia’s leading organisation for artists working with sound and listening. LA investigates the sounds themselves, but also the ideas communicated about, and the meaning of, sound and listening.

Transience, improvisation and collaboration form the basis of Dylan Martorell’s music-based art practice. Housed within the conceptual framework of a musical diaspora, his work is drawn to ways in which music travels through space and is affected by changes in geography, climate, culture and materials to become an agent for cross-cultural reciprocation.

Published on Disclaimer are a series of music scores using the growth structures of plants found within the City of Yarra and the City of Moreland. Here, Dylan talks through the processes, techniques and concepts behind these scores that form the basis of a series of sound recordings and interactive walking maps.

https://disclaimer.org.au/contents/sonaflora-drift-scores

Image: Dylan Martorell

Financial support from patrons at any level has a resounding impact on our work. You can support Liquid Architecture’s weekly podcast and our online journal Disclaimer, for new thinking and writing on listening and sound through a Patreon subscription, for as little as $5 a month.

https://www.patreon.com/liquidarchitecture

For the past 20 years, Liquid Architecture has been Australia’s leading organisation for artists working with sound and listening. LA investigates the sounds themselves, but also the ideas communicated about, and the meaning of, sound and listening.