‘Common’ is a novella written over the summer of 2011. This period of time encompassed a crash in global markets caused by the downgrading of American debt, turbulence in the Eurozone and protests/riots that started in London before spreading across Britain. Written through the voice of ‘Self-Appointed Artist in Residence’ events in the book take place over a day, mixing together personal experience, observation and fictional imaginings of the City of London. The book aims to bring together the past and present/personal and political and to make sense of the current crash by osmosis; through spending time in the City of London itself. The book asks; how can we make sense of the economic crash? How might subjectivity and political agency help create a text that is both immediate and reflective? Is it possible to make sense of crisis from within the moment(s) of crisis? This work draws on two key literary references. The mysterious gothic atmosphere of Edgar Allen Poe’s story ‘The Man of the Crowd’ helped me find a tone of voice and develop the narrator’s persona as outsider/insider/detective/artist. The semi-autobiographical novel ‘W, or the Memory of Childhood’ by Georges Perec was a model for autobiographical writing, uncertain memory and the use of fantasy to create allegory. The novella 'Common' is a metaphor for collapse (social, environmental and economic). Performances recur throughout, from my own performance interventions in the City to the performance of markets and the performances of trader’s in the ring at London Metal Exchange. Material on banking and economics appears in footnotes as rolling news; a stream of polemic that replicates the screens watched in lobbies across the City itself. ‘Common’ uses humour to expose the incongruences of power. It is a satire that raises serious issues about social and economic inequality.

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Out of Memory is a series of 10 bromide prints marking the locations of performances that happened in London between 1961 and 2004. This edition features photographs taken at the sites of performances by artists including Fiona Templeton, Bobby Baker and Stuart Brisley. Places such as Covent Garden, Vauxhall Cross and Fleet Street form part of the edition.

This book documents a performance by British artist Hayley Newman held in Milton Keynes in March 2006. Entitled Milton Keynes Vertical Horizontal, the piece consisted of a continental coach, inhabited by the artist and seven local volunteers, being driven around the infamous ‘grid’ road system of the town until the coach ran out of diesel.

A box set including 1,500 photocopied notes and a VHS cassette relating to the 2001 exhibition 'The Daily Hayley'.

Throughout the 1990s Hayley Newman’s unique performance work has been deliberately varied; working with sound, text and photography both in collaboration and alone she has evolved a practice, that is both expressive and analytical of performance strategies and schema. Performancemania is the first comprehensive publication of performance works by Newman. The book offers an overview of 34 performances made by the artist between 1994 and 2001 as well as including 21 ‘fake’ performances from Newman’s 1998 documentary series Connotations – Performance Images. Works presented in the book are discussed within Newman’s self-interview. Identifying itself as a performance, the self-interview presents an analysis of textuality in relation to the mediation of performance both within and beyond the event of action, looking at text as score, document, prediction or testament.

‘Facing’ took place at the Cornerhouse Gallery, Manchester in March 2012. It was funded by the Arts Council England and curated by Louise Adkins with The International 3 and MIRIAD. The performance took place in the context of ‘Between’, a series of performance events taking place during the exhibition changeover. ‘Facing’ was a solo performance about the face, expression and relating to others. In the first of its three sections, I expressively animated used dishcloths, each of which had a face embroidered on it. These cloths replaced my own face in the performance. At the end of the performance the audience were invited to wear T-shirts with single punctuation marks printed on them. Sporting an exclamation mark or a semi-colon, people stood next to each other, creating emoticons(a representation of the face made using punctuation) together. The two sections were connected through a monologue, in which I spoke of links between invisible labour embodied by the used dishcloths and the T-shirts (which like many high street garments in the UK were likely to have been made in sweatshops.) ‘Facing’ asked questions about how we relate to each other through the face; how do we read, represent and communicate emotion? What happens (as with the anonymity of sweatshop labourers) when a face is no longer present? Continuing to focus on the relationship between personal and political forms of expression ’Facing’ drew on two texts; ‘Face to face’ by Emmanuel Levinas and ‘Punctuation’ by Adorno. In ‘Punctuation’ Adorno’s writing around expression and punctuation inspired reflection on the contemporary emoticon. While, ‘Face to face’ enabled a working through of the relationship between performer and audience, helping to formulate wider considerations of ethics and labour beyond the performance itself.

A party at the Bluecoat Gallery in Liverpool, where we danced for 12 hours in an attempt to imagine peace. pOLITICAL PARTY was part of the John and Yoko 'Bed In' re-enactment at the Bluecoat Gallery in Liverpool.

Bankspeak : The Royal Exchange, City of London, 17 June 2009 - 19 June 2009. Capitalists Anonymous meeting. Duration: 1-2pm daily. In 2009 Andrea Mason and I inaugurated the self-help group Capitalists Anonymous. This version, titled Bankspeak, was established as a forum to enable people to come and confess their capitalist tendencies. Set up for bankers in the wake of the economic crash, C.A. was seen as a therapeutic intervention that provided ‘a supportive environment in which to share… stories of greed, excess consumption, shopping addiction and explore… fears or excitement about what’s next?’ For more information visit Capitalists Anonymous

What do we want? Poetic action Creative action Poetic passion We are fans of activism We are fans of political action We are artists and musicians The video that begins with Kaffe sitting at a table in the snow and ends with tantrums on an empty London tube train. ‘Café Carbon’, by The Gluts was performed (with varying degrees of success) on the streets of Copenhagen during the climate summit. In Copenhagen, people were asked to choose a dish from a menu of songs, which The Gluts then performed. Short starters; Stone Cold Soup, Cheap Cheap Chicken and GMNO, followed by longer Mains; Rook Pie with Hoover Sauce and Spaghetti Carbonorama, and sweet desserts such as Arctic Roll, and Passionfruit Pie. Two current favourites are Locally Grown Worm, Cabbage and Potato Salad and Hairy Chest Pie. Hayley and Kaffe are vegans, they ride bicycles and live their lives in a way that is in tune with climate activism. They are concerned about climate change and are keen to do something more to promote information and action about the surrounding issues. Gina drives her car, is a big fan of lights, which she collects in skip loads. Gina is concerned about climate change and has done absolutely nothing about it. In the beginning, Hayley Newman asked Kaffe Matthews if she wanted to write the music for her burgeoning idea of a climate musical, Kaffe agreed. Hayley poured over texts, wrote reams and reams, threw most of it in the bin, and then came up with some great ideas and wonderful words. Songs began to emerge, but the idea for a musical was put on a back burner. Copenhagen was looming and the two of them planned a trip on the climate train to Copenhagen for the climate Summit and decided to perform in streets and cafes there. Meanwhile, they met Gina Birch when all three were players at Jem Finer’s Longplayer Roundhouse performance in London, last Autumn. Hayley asked Gina if she would join them in Copenhagen and make a video of the trip. Gina said yes, wondering how she could really reconcile her lifestyle with this new role she was taking on and meanwhile Hayley and Kaffe plotted that Gina would also do some performing. As she got immersed in the project, Gina started leaving her car at home, walking a lot more and changed her lightbulbs, ate less meat and took up knitting. She knew this would make little or no difference at all, but was aware that her change in attitude was a part of the whole process of a much bigger change. So in the beginning, Kaffe made the music, Hayley wrote the words and Gina made the video, but all interconnect and change and transform and the resulting work is a collaboration of all of three, in all areas. Eat, enjoy and begin to feel the difference. Exhibition produced by AV Festival 10 and Vane. Supported by Arts Council England. Part of AV Festival 10: Energy International festival of electronic arts featuring visual art, music and moving image 5-14 March 2010 NewcastleGateshead, Middlesbrough, Sunderland www.avfestival.co.uk www.cafecarbon.net

Gina Birch, Kaffe Matthews & Hayley Newman are collectively The Gluts. They performed their repertoire of Café Carbon songs at the Copenhagen Climate Summit in December 2009. In their performances audiences were offered the opportunity to choose from a menu of songs including starters, main courses, desserts and drinks. For Café Carbon, they wrote eighteen songs about food and climate, which again took the form of a menu of starters, main courses, desserts and drinks. Subject matter was as diverse as cheap chicken, food transportation, over consumption, droughts and flooding, allotments, mechanization and the beginning of modernity. Wearing black 'up-cycled' costumes (made from charity shop finds which would otherwise have been dumped in landfill) The Gluts sang along to their backing track of 80s style eco-electro. For their Sprial residency at Camden Arts Centre, The Gluts will make music videos/viral videos from a selection of songs from the Café Carbon cycle Useing the studio to plot, make props, film and rehearse the works. The videos would be made in a variety of styles; from intervention into public space, to Busby Berkley styled dance routines.

Café Carbon is a musical performance written by The Gluts (Gina Birch, Kaffe Matthews and Hayley Newman) originally performed in Copenhagen during the UN Climate Change Conference. Café Carbon offers a menu of music about food and climate: the audience choose songs and they sing them.

Café Carbon is a musical performance written by The Gluts (Gina Birch, Kaffe Matthews and Hayley Newman) originally performed in Copenhagen during the UN Climate Change Conference. Café Carbon offers a menu of music about food and climate: the audience choose songs and they sing them.

The Performance Years (Sculpture) is a fictional account of the life of a young artist who begins to explore time and subjectivity by videoing herself in her studio. Unsatisfied by this, she moves her studio onto the street. Like many young artists, Lucy started out making sculpture at art college . As the course progresses she considers the readymade before beginning to link what she is doing in the studio with the outside world. Lucy begins to make performance works that find their way into social situations that begin to test her limits…

In December 2009 The Gluts facilitated a night of presentations by artists, musicians and activists who took their creativity to the streets of Copenhagen for the Climate Summit in 2009. For this one-night-only event we performed songs from Café Carbon interspersed with presentations by invited artists and activists; The Laboratory of Insurrectionary Imagination, The People Speak (and their Planetary Pledge Pyramid), Question Time, photographer Kristian Buus and filmmaker Emily James, who all shared stories of the summit hosted by Mikey Weinkove. The evening also included a take-away live-press zine, designed and printed on the spot by The Ladies of the Press*.

The Gluts are an environmentally crusading girl-band comprising Hayley Newman, Gina Birch and Kaffe Matthews. We formed in 2009 to write ‘Café Carbon’; sixteen songs about food and climate change, which we took to the Copenhagen Climate summit in December 2009. ‘Café Carbon’ was performed on a specially commissioned climate train and at the summit. Together we collectively wrote music, made pop videos and the documentary film ‘The Gluts go to Copenhagen’. After instigating the project, I worked as researcher, lyricist, performer and producer; Kaffe Matthews wrote music and contributed to lyrics and Gina Birch edited our videos, wrote music and contributed to lyrics. We all performed. We sang about global food production, growing your own food, food waste, water shortage and excess, famine, modernity and extinct animals. In ‘Café Carbon’ we asked questions about how artists might take creative action to contribute to political change. More specifically, how the female voice might manifest itself in this realm and how humour and music work in relation to rhetorics of protest? Key references were: the lyrics and writing of Bertolt Brecht including A Short Organum for the Theatre; the music of Cornelius Cardew, particularly Consciously; the protest album There’s Me and There’s You by Matthew Herbert. ‘Café Carbon’ drew on agricultural and industrial history, seen in relation to current debates. Vandana Shiva’s book ‘Soil not Oil’, about climate change, peak oil and food insecurity was a key reference point for the project. Through ‘Café Carbon’ we wanted to construct a dialogue of awareness: food security, food imperialism, supermarkets and oil, vibrantly illustrating the current disenchanted global image of food production, by championing the fact that food is not a luxury, but a basic requirement for human life. The project was funded by Arts Council England and AV10 festival, Newcastle. It was performed at the AV10 festival; Whitechapel Art Gallery, London; Cafe Oto, London; Camden Arts Centre; London and Modern Art Oxford.

For one night only, Cabaret Duchamp drew together artists, performers and provocateurs. Will Gompertz, the BBC Arts Editor and author of What Are You Looking At? compered this event in the spirit of Marcel Duchamp, the dada of Dada. Cabaret Duchamp was programmed to celebrate the exhibition: The Bride and the Bachelors: Duchamp with Cage, Cunningham, Rauschenberg and Johns. Artists and performers featured: Martin Creed, Dog Kennel Hill Project, Stewart Lee with Tania Chen and Steve Beresford, Margaret Leng Tan, Hayley Newman and Ai Weiwei.

Collaboratively written, improvised and directed, The Last of the Red Wine is the art world’s attempt to represent itself more accurately in mainstream entertainment. Circumventing common misconceptions and clichés, it will instead revel in such realities as the farce of artspeak, the tragicomedy of the auction house and the slapstick of incomprehensible performance. Daily public workshops and script readings in the gallery will lead to evening performances and live rehearsals in the theatre. An introductory symposium sees an open discussion on the representation of art in the media. The ICA Theatre will host contextual screenings followed by improvised performances fleshing out scenes and dialogue as it develops.