Tongue Tied

Works presented inTongue-tied have been selected from an incidental archive of over 500 drawings, watercolours, texts and knitted textiles made by Hayley Newman since June 2018, all of which trace personal responses to a time of uncertainty and turbulence.

The Aerodrome

This exhibition is dedicated to the memory of Michael Stanley, Curator of Ikon before becoming Director of Milton Keynes Gallery and then Modern Art Oxford, who died tragically in 2012. Co curated with David Austen and George Shaw and structured loosely on Rex Warner’s 1941 wartime novel The Aerodrome, a book that made a great impression on Stanley, it includes many of the artists he worked with, all of whom held him in great affection and regarded him as one of their own. Jenny Saville, for example, whose first solo show in a British public gallery took place at MAO in the year of his death, describes Stanley as someone who “wasn’t scared of history or of being radical. He was as likely to be enthusing about working with a sculptor in his nineties, [as] raising funds to facilitate a young filmmakers’ vision. His poetic sensibility, combined with a can-do attitude where everything’s possible, is what made him so magnetic and convincing.” Warner’s The Aerodrome, written during the Second World War, is an allegorical novel whose young hero is faced with the disintegration of certainties about his loved ones and with a choice between the earthy, animalistic life of his home village and the pure, efficient, emotionally detached life of an airman. Its dystopian vision was very influential on writers such as Orwell, Burgess and Ballard. In fact it is full of the imagery we think of now as Ballardian: modern dystopias, bleak man-made landscapes and the psychological effects of technological, social or environmental developments. In light of current affairs world-wide, including the rise of terrorism, listening secret states and drone warfare – symptomatic variously of a serious challenge to the democracy we too often take for granted – a rereading of Warner’s book, as the point of departure for such an exhibition, could not be more timely. The Aerodrome is accompanied by a fully illustrated catalogue published by Ikon and Modern Art Oxford, featuring essays by artists David Austen, George Shaw, Carrie Stanley and Ikon’s Director Jonathan Watkins. Artists: Phillip Allen / Polly Apfelbaum / David Austen / Karla Black / Simon & Tom Bloor / Boyd & Evans / Marcel Broodthaers / Marcus Coates / Nathan Coley / Phil Collins / John Constable / Michael Craig-Martin / Abraham Cruzvillegas / Shezad Dawood / Jeremy Deller and Alan Kane / dRMM Architects / Alec Finlay / Anya Gallaccio / John Gerrard / Siobhán Hapaska / Roger Hiorns / Lonnie Holley / Thomas Houseago / Langlands & Bell / Elizabeth Magill / Aleksandra Mir / Jean-Luc Moulène / Paul Nash / Hayley Newman / Adrian Paci / Susan Philipsz / Paul Ramírez Jonas / Kristian Ryokan / Michael Sailstorfer / Jenny Saville / George Shaw / Michael Stanley / Linder Sterling / Graham Sutherland / Phoebe Unwin / Wolfgang Weileder / Cathy Wilkes / Stephen Willats / Keith Wilson / Richard Woods / Gilberto Zorio

Free the Pussy!

At the end of 2011 an anonymous feminist punk collective wearing luminous balaclavas performed a series of unsanctioned gigs or interventions in opposition to Vladimir Putin’s government and its association with the leadership of the Russian Orthodox Church. This collective championed gender equality, LGBT rights, environmental activism and called for a female president. They challenged masculine authority and stood for freedom of expression. They were and are the PUSSY RIOT. This new exhibition aims to be an archive of the global protest in support of the Pussy Riot’s call. The show will include artist responses that can be seen in the book, alongside many others who stood in condemnation at the women’s imprisonment. This is the first time many of these pieces made in protest have been brought together for display. All of these works are as relevant now as they were then and stand as a testimony to the power of a woman’s voice. The show includes work from eco-electro girl band The Gluts (Hayley Newman, Gina Birch and Kaffe Matthews)

In My Shoes: Art and the Self since the 1990s

An Arts Council Collection Touring Exhibition Self-portraiture maintains an enduring presence throughout art history; in recent years artists have revolutionised and extended the genre by incorporating action, performance, narrative and explorations of identity. In My Shoes explores the ways in which artists based in the UK have represented themselves in their work since the 1990s. Encompassing a range of media including film, photography and sculpture, In My Shoes draws primarily from the Arts Council Collection, with key loans from other UK collections, to investigate these dynamic approaches. This exhibition offers a timely opportunity to consider the legacy of a key aspect of 1990s British art. The show begins with key early works by so-called ‘Young British Artists’ including Tracey Emin, Sarah Lucas and Gavin Turk, who received international attention for putting themselves in the frame with bold and confrontational works. The exhibition continues with the work of a younger generation of artists including Rachel Maclean and Bedwyr Williams who have each established an active role within their work. In My Shoes concludes with some of the most recent works to enter the Arts Council Collection, some on public display for the first time since acquisition

Liberties (Cornwall)

An exhibition of contemporary art reflecting on 40 years since the Sex Discrimination Act. This exhibition was first presented in London in 2015. Curated by Day+Gluckman with Guler Ates, Helen Barff, Sutapa Biswas, Sonia Boyce, Jemima Burrill, Helen Chadwick, Sarah Duffy, Rose English, Rose Finn-Kelcey, Alison Gill, Helena Goldwater, Joy Gregory, Margaret Harrison, Alexis Hunter, Frances Kearney, EJ Major, Eleanor Moreton, Hayley Newman, Freddie Robins, Monica Ross, Jo Spence, Jessica Voorsanger, Alice May Williams and Carey Young.

Now It is Permitted: 24 Wayside Pulpits

Now It is Permitted: 24 Wayside Pulpits is curated by Artist in Residence, Bridget Smith and the Swedenborg Society’s Director, Stephen McNeilly. Inspired by a collection of 24 New Church ‘wayside pulpits’ from the 1950s held in the archive at Swedenborg House, the exhibition features 57 newly commissioned visionary statements from invited artists, writers, musicians, playwrights and filmmakers. Designed by Fraser Muggeridge studio, the posters will be on display at Swedenborg House, the Window Gallery in Conway Hall and neighbouring Bloomsbury Festival venues. INCLUDING JEREMY AKERMAN, CHLOE ARIDJIS, HOMERO ARIDJIS, FIONA BANNER, ANNA BARHAM, RUT BLEES LUXEMBURG, KATHRIN BÖHM, LAURENCE CRANE, CULLINAN RICHARDS, CLARE CUMBERLIDGE, EILEEN DALY, JEREMY DELLER, ARNAUD DESJARDIN, SARAH DOBAI, TIM ELLIS, SIMON ENGLISH, MARGARITA GLUZBERG, DAVID GREIG, INTERNATIONAL LAWNS, MELANIE JACKSON, SARAH JONES, BEN KELLY, HILARY KOOB SASSEN, ANDREW KÖTTING, MICHAEL LANDY, JOHN LAWRENCE, YVE LOMAX, STEPHEN MCNEILLY, MELANIE MANCHOT, BRIGHID LOWE, MICHAEL MARRIOTT, ANDREA MASON, JASON MASSOT, JEREMY MILLAR, FRASER MUGGERIDGE, ANDREW MUNKS, HAYLEY NEWMAN, SALLY O’REILLY, CORNELIA PARKER, JANETTE PARRIS, DBC PIERRE, JOANNA POCOCK, CLUNIE REID, OLIVIER RICHON, IAN RICKSON, GIORGIO SADOTTI, AURA SATZ, ROSALIE SCHWEIKER, ALI SMITH, BRIDGET SMITH, BARNABY SNOW, POLLY STENHAM, MILLY THOMPSON, GAVIN TURK, JESSICA VOORSANGER, MARINA WARNER, IAN WHITTLESEA, KEN WORPOLE.

Liberties: An exhibition of contemporary art reflecting on 40 years since the Sex Discrimination Act (1975)

Works by over 20 women artists that reflect the changes in art practice within the context of sexual and gender equality since the introduction of the Sex Discrimination Act (1975) in the UK. Guler Ates, Helen Barff, Sutapa Biswas, Sonia Boyce, Jemima Burrill, Helen Chadwick, Sarah Duffy, Rose English, Rose Finn-Kelcey, Alison Gill, Helena Goldwater, Joy Gregory, Margaret Harrison, Alexis Hunter, Frances Kearney, EJ Major, Eleanor Moreton, Hayley Newman, Freddie Robins, Monica Ross, Jo Spence, Jessica Voorsanger, Alice May Williams and Carey Young

History is now: 7 artists take on Britain

Seven artists take on the cultural history of the United Kingdom. In the run-up to the 2015 General Election, History Is Now offers a radical new way of thinking about how we got to where we are today. John Akomfrah, Simon Fujiwara, Roger Hiorns, Hannah Starkey, Richard Wentworth and Jane and Louise Wilson have each been invited to curate sections of the exhibition, looking at particular periods of cultural history.

The Preparation of the Novel

The Preparation of the Novel is the title of a new instalment in The Book Lovers project, which makes direct reference to the transcription of the series of lectures that Roland Barthes carried out at the Collège de France between 1978 and 1980. Barthes approached the process of writing a novel –his own novel- as a fantasy, and he wondered about the conditions under which it is possible to realize the desire-to-write. Barthes turned a solitary enterprise, such as preparing to write a novel, into a collective event.

The World Turned Upside Down - Buster Keaton, Sculpture and the Absurd

Curated by Simon Faithfull and Ben Roberts, ‘The World Turned Upside Down’ places the work of over twenty international artists working in film, sculpture, installation art and performance in direct relation to Buster Keaton’s films to track a lineage from the melancholic and at times anarchic comedy of Keaton to the dry wit of conceptual practice. Artists include: Bas Jan Ader, Alexandre da Cunha, Simon Faithfull, Peter Fischli David Weiss, Brian Griffiths, Jeppe Hein, Sofia Hulten, William Hunt, Tehching Hsieh, Hayley Newman, Roman Signer, Richard Wentworth, Richard Wilson, John Wood and Paul Harrison.

Image as Witness: Europe and the Arts Council's Collection

This group exhibition drawn from the Arts Council Collection includes experimental and performance related artworks which reflect upon an itinerant artistic tradition with roots in the European avant-garde. German artist Wolfgang Tillmans currently lives between London and Berlin, having studied at Bournemouth College of Art and British born artist Hayley Newman spent her formative years in Hamburg on the DAAD scholarship as a student of Marina Abramovic.

Revealed: Government Art Collection

The first touring exhibition from the Government Art Collection, in which over 160 works from this 114-year-old collection are ‘revealed’ under one roof.

Head to Head

Castlefield Gallery holds an annual Head to Head exhibition. This year it featured new work by myself and Emily Speed. Programmed under the gallery’s 2012/2013 overarching theme of World In Transition the work explores the relationship between the body and architecture.

Revealed: Government Art Collection

Revealed brings together a diverse selection of nearly 200 works of art, ranging from the historical to the contemporary, which form part of the Government Art Collection.

The Engine Room Festival

A Celebration of the life, works and legacy of Cornelius Cardew at Morley College, London The engine room exhibition is a selection of sonic and visual artworks by established and emerging artists from across the globe. The works share a common ground in that they have all been inspired in some way by Cornelius Cardew’s music and/or ideologies. the engine room exhibition showcases the far-reaching influence that Cardew continues to have on artists working across a diverse range of disciplines and media today. The exhibition includes sound installations, graphic scores, video works, acousmatic works, and interactive works.

THE LAST OF THE RED WINE (THE PREQUEL/SEQUEL)

“Oh come on Simon, he’s made some good projects. Remember the hedge fund he did at the ICA managed by monkeys? He earned two million pounds! Didn’t even have to pay the monkeys!...” Early in 2011 an unlikely group of artists, comedians and writers worked together on The Last of the Red Wine, a radio sitcom set in the artworld. Used to being the subject of their own work, the collaborators instead cast themselves in a collective farce, written and performed in the course of one week. The next instalment of the sitcom at Project Arts Centre, The Last of the Red Wine (the prequel/sequel), dissects the mix of people and personalities involved in the original project and examines the processes of self-representation in their individual practices. Presented as a selection of videos and installations, it reveals the further absurdities of art and the artworld, as experienced by serious artists with ridiculous ideas.

Government Art Collection: Selected by Cornelia Parker: Richard Of York Gave Battle In Vain

This display of over 70 works, hung from floor to ceiling in a kaleidoscope of colours, offers an original and personal selection by artist Cornelia Parker on the Collection’s breadth and function. Titled after a well-known phrase used to remember the colours of the rainbow, the display includes works from across the colour spectrum. Parker has selected works whose dominant tones range from the luscious red draperies in Daniel Mytens’ full length portrait of Lady Anne Montagu, 1626, to the bright yellow of Martin Creed’s neon sculpture THINGS, 2000, from David Batchelor’s vivid shelf-like No. 5 (Green), 1999, to the royal blue background in Andy Warhol’s portrait of Queen Elizabeth II, 1985. The display also includes achromatic works such as Grayson Perry’s humorous black and white etching Print for a Politician, 2005. The Government Art Collection has promoted British art and artists for over a hundred years. Usually on display in more than 400 locations all over the globe, it includes paintings, sculptures and other works of art from the 16th century to the present day. This display is part of the Whitechapel Gallery’s ongoing programme opening up important public and private collections for everyone.

Fraternise

Fraternise – the Salon is a special event curated as part of the fundraising scheme Fraternise: established in 2005 to reflect Beaconsfield’s core values and nurture a community of artists who demonstrate their support in practical terms by providing the potential to secure Beaconsfield’s future.

Super Farmers' Market

Super Farmers’ Market is the second in a series of group shows that teases at the possible proximity of two forms of specialist consumption: fine food and fine art. This year’s show, curated by two experts in the field, Mary Anne Francis and Lucy Heyward, is themed around the idea of ‘upcycling’: the current trend for taking low-grade artefacts that might be destined for landfill and enhancing their value by means of handwrought interventions. To this end, 32 artists have been asked to produce artworks using low-cost supermarket goods: groceries, cleaning materials and discarded packaging. Continuing the Farmers’ Market theme, artists are encouraged to resource their materials locally.

Emporte-moi/Sweep me off my feet

“It might seem like a trivial subject at first (…) but it has unsuspected depth. The emotions of being in love are infinitely complex,” say Frank Lamy and Nathalie de Blois, curators of « Emporte-moi / Sweep me off my Feet ». The exhibition deliberately shuns irony, demonstrating how contemporary artists continue to re-work the textbook rhetoric of love through forceful reinterpretations that shuttle between rapture and despair. MAC/VAL’s goal in this new group exhibit is not so much to investigate Love as it is to give free reign to emotions.

Emporte-moi/Sweep me off my feet

MiniFlux

MiniFlux is a collection of over 1000 props used or referenced in Fluxus musical scores, made into roughly worked miniature plasticine models. These are accompanied by a printed list of all the objects, which range from a full orchestra and an elephant to a tuba and a piano. Hayley Newman has a long interest in Fluxus strategies, events and humour; in particular how everyday objects are used in performance work. A Fluxus music score was a series of notes that freely allowed anyone to perform any kind of work from the score. The reader could perform the work in a concert situation, at home or simply through their imagination. Many of these notated performances require props, and it is these objects that the artist has presented in miniature plasticine representations. Music played a central role for Fluxus artists, influenced by John Cage’s compositional strategies and the notion of chance in art. MiniFlux includes a wide range of musical instruments, in addition to the items often used to attack instruments including saws, hammers and a tractor. MiniFlux encourages audiences to actively look and make connections between the list and the collection of plasticine sculptures. The list may suggest new performances in the minds of the readers and therefore the list itself becomes another score. The installation celebrates Fluxus’s humour and vitality and moves away from photographic documentation as the central object of performance art.

Smoke

Smoke has plumed and swirled about us since history began. Not so long ago it reached a suffocating density when smoke gushed from mighty industrial plants like Battersea Power Station in a London that was dubbed ‘The Big Smoke’. But in our age of smokeless fuels and smoking bans, smoke seems to be vanishing from our fireplaces and fingertips. While it is rapidly increasing in other parts of the world, in London soon there may be nothing left but its symbolic quality. Smoke is going up in smoke; it is becoming its own metaphor. This exhibition marks its presence as it starts to disappear.

Catch This - New Works from the Arts Council Collection

A selection of works from my photographic series 'Connotations Performance Images - 1994-1998' (1998) and Connotations II (2002) on show at the Yorkshire Sculpture Park. All the works in the exhibition were drawn from the Arts Council Collection.

I AM MAKING ART 4 STUDIES ON THE ARTIST’S BODY

The Centre d’Art Contemporain Genève is proud to present I AM MAKING ART - 4 Studies on the Artist’s Body, a group exhibition divided in four chapters. Since the mid-1960s, many artists have used their own bodies as both the subject and the object – i.e. the material – of their work. To understand the evolution of this phenomenon, the exhibition presents a large selection of historical and contemporary videos. An occasion to (re)discover works by artists such as MARINA ABRAMOVIC, VITO ACCONCI, FABRICE GYGI, SIGALIT LANDAU, GRACE NDIRITU, HAYLEY NEWMAN, YOKO ONO, ADRIAN PIPER and SALLA TYKKÄ. The project also includes conferences by PACO BARRAGÁN and KATHY BATTISTA, as well as a historical performance by FAITH WILDING.

Responding to Rome 1995-2005

Responding to Rome: British Artists in Rome, 1995-2005, an exhibition of works by artists who attended the British School at Rome over the last ten years, will be staged at the Estorick Collection of Modern Italian Art, in London. Thirty-four artists were selected from over 100 alumni from the School, all of whom had received scholarships and fellowships awarded by public bodies and private foundations between October 1995 and June 2005.

TRAJECTORY 4

Curator Mara Traumane explores the praxis of processual art that acts in a way as a critic of representation and institutionalism. The new forms of performances will be demonstrated, DIY praxis and interdisciplinarity will be introduced. The invited artists: Hayley Newman (Great Britain), Tanja Ostojic (Serbia/Germany), Harun Faroki (Germany) and the multimedia group “Chicks on speed” (Germany/ USA).

Fuer die Ewigkeit

Was Peter Bürger für die Wirkungsgeschichte der historischen Avantgarde konstatiert hat, lässt sich auf das Nachleben der Performance-Kunst der 1960er und 70er Jahre übertragen: dass der einstige Protest gegen die Institution Kunst als Kunst rezipierbar geworden ist. Für viele zeitgenössische Künstlerinnen und Künstler stellt sich denn auch gar nicht mehr die Frage, wie mit der Diskrepanz zwischen Performance und ihrer Konserve umzugehen sei – ihnen bleibt nur noch zu konstatieren, dass das dokumentarische Nachbild bereits seinen Siegeszug im Kanon der Kunstgeschichtsschreibung angetreten hat.

Her Noise

Her Noise is an exhibition featuring five newly commissioned installations by international artists whose practice shares the use of sound as a medium to investigate social relations, inspire action or uncover hidden soundscapes. New installations by Kim Gordon; Emma Hedditch; Christina Kubisch; Kaffe Matthews and Haley Newman all involve high levels of participation and are set in motion only when used by visitors or performers forming a base of events, live music and performances.

Chronic Epoch

In a decade, names have been made or changed, careers have been lost and found, alternative concepts have lived, died or been institutionalised. Chronic Epoch marks Beaconsfield’s 10th Anniversary and is a signature exhibition that includes painting, film, performance and sculpture by just a few of the artists we’ve worked with over ten years. The exhibition is animated by a programme of performance, talks and screenings presented by: Katie Barlow, David Cunningham/Brad Butler/Karen Mirza, Mark Dean, Richard Dedomenici, Svein Flygari Johansen, Bruce Gilchrist, Lucy Gunning, Matt Hale, Ian Hinchliffe, Melanie Keen, Tamsin Pender, Andrew Renton, Monica Ross, Eric Rosoman, [rout], Zineb Sedira, Anya Stonelake, Dafna Talmor/Joe Walsh and Aaron Williamson.

There is always an alternative

There Is Always an Alternative articulates an alternative history of art practice and a history of alternative art practices around the early 1990s based on a political understanding of the position of the artist. The title derives from an inversion of one of Margaret Thatcher’s favourite ideological phrases, “there is no alternative”. This is a phrase used by people attempting to undermine whatever alternative there is and in that sense is always false and falsifying. On the contrary, there is always an alternative. There Is Always an Alternative explores models and possibilities for artistic practice that resist, undermine or otherwise oppose the closures, absences and exclusions in dominant art discourse and practice.

Resonance

An interest in the renewal of performance art has arisen in recent years. Resonance shows various performances in which the ideas and strategies of classic performance art can still be found. At the same time, the search for other approaches and new methods is central in them. Resonance is interested first of all in contemporary artists who take the human body as their point of departure for presenting their concepts. For them the body is the instrument par excellence for 'being human' and experiencing, investigating and portraying life.

Documentary Creations

Documentary Creations does not explicitly address current discourse concerning the dangers of or fascination with artificially created realities. It seeks to examine different mechanisms of authentication and to enable us to grasp the construct “reality” as a subsuming, sense-conferring dispositive. Starting with the complex process of the creation, mediation and experience of truth, the exhibition explores the paradox of documentary authenticity and the artistic creation of myth, at the same time illustrating the complexity and ambivalence of a range of documentary-essayistic works by younger artists. —– Artists : Matthew Buckingham, Adam Chodzko, Artlab – Charlotte Cullinan & Jeanine Richards, Tacita Dean, Manon de Boer , Marine Hugonnier, Hayley Newman, Charles Sandison, Mathew Sawyer, Melik Ohanian, Douglas Gordon

Plural 2

ShowCASe

ShowCASe Preview brings together works by 17 contemporary artists purchased by the Contemporary Art Society (CAS) over the past four years. Diverse ideas around process, action and performance informed the selection of works which together present a cross section of current art practice in the UK.

Art, Lies and Videotape: Exposing Performance

Art, Lies and Videotape was the first major exhibition at Tate Liverpool devoted to the history and significance of performance art. It brought together a selection of objects, photographs, reconstructions, films and videos spanning the last century, and gave an insight into the various challenges associated with recording live events for history.

Brittania Works

The British Council presented Britannia Works, a major exhibition of contemporary art currently being made in Britain, curated by Katerina Gregos. The exhibition took place in three of Athens’ premier exhibition venues: the Ileana Tounta Contemporary Art Centre, Xippas Gallery, the Breeder and the British Council auditorium.

Camera/Action

The strength of performance art has traditionally been thought to reside in its immediacy, implying that it is at odds with the technologies of reproduction and representation. Indeed, during the 1960s and 70s, there was certain skepticism regarding the role of the photograph in the documentation of performance art. Allan Kaprow, well known for orchestrating performance events in the 1960s, was bothered not only by the seeming incompatibility between still photography and temporal action-based art, but also by the effect of the camera’s presence on his happenings. He found that it brought an unwanted dimension of spectacle to the event, and that his participants behaved differently the minute photographers appeared on the scene.

Tonight

TONIGHT is a non-thematic group exhibition featuring over fifty artists, curated by Paul O’Neill. Each artist has been invited to contribute a singular work that documents a specific process of production employed on a particular night.TONIGHT explores art as an act of ‘killing time,’ passing the night away, doing something, perhaps mundane, maybe obsessive, but always about making the passage of time material. TONIGHT is a gathering together of the results of a selection of things that have been done. The exhibition is accompanied by a user manual/ poster work designed by Liam Gillick with a list of these acts, each act corresponding with a work on display.

Live Culture

Live Culture provided an opportunity to engage with the shifting nature of Live Art practice in relation to the visual arts, by bringing together distinguished artists, theorists and curators to examine the expansion of performance art across broader artistic and social arenas, and its role in relation to cultural change.

Hayley Newman

Solo exhibition at the Centre d'Art Contemporain, Geneva.

Ram Lounge

Radio Radio

24/7

Hayley Newman

The first major solo exhibition for internationally acclaimed British artist Hayley Newman. She is well known both for her live performances and the photographic project Connotations – Performance Images 1994-98 (made in collaboration with photographer Casey Orr), in which she invented documentation for twenty entirely fictional performance works. This series, included in the exhibition, addresses how performance is transformed and mythologised when documented by photography and video. Also included was a new photographic series inspired by Birmingham, made in collaboration with a team of volunteers from different local communities, superimposing fictional imaginings onto the city.

Unprincipled Passions

This John Hansard Gallery exhibition brings together eight international artists whose work examines the relationship between public and private identities and the extent to which broadcast and lens-based media cross from one sphere into the other. Bringing together classic, recent and new film, video, sound and photographic works by Vito Acconci, Sophie Calle, Frances Goodman, Philippine Hoegen, Mako Idemitsu, Mark Lewis, Hayley Newman and Gillian Wearing, the exhibition explores the potential for media-based art to address issues of the personal, the confrontational, the curious and the intrusive.

Bandwaggon Jumping

Superhero artstaar: beyond good and evil

A highly performative exhibition involving British artists Hayley Newman and Angus Wyatt, Jennifer Moon from LA, and Starlie Geikie and Nat and Ali from Melbourne, Superhero Artstaaar: Beyond Good And Evil comprised a melting point of identities in-formation and performance, with the audience invited to join in.

Groove - Artists and Vinyl

Groove, at Huddersfield Art Gallery until January 4, brings together the quintessential exponents of 'vinyl disc culture', putting the needle back into the groove and the groove into art.

Century City

Century City explored the relationship between cultural creativity and the metropolis, by focusing on nine cities from around the world at specific moments over the previous hundred years.

Verbal inter-Visual

Point of View

A Shot in the Head

Dot - one year archive

Multiples x 4

Becks Futures

Beck's Futures was a British art prize founded by London's Institute of Contemporary Arts and sponsored by Beck's beer given to contemporary artists.

Connotations Performance Images, 1994-1998 (1998)

My work 'Connotations Performance Images, 1994-1998' was commissioned by Hull Time Based Arts in 1998. It was shown in its entirety for the first time at Beverley Library as part of the Root '98 festival.

Doing in its own right

The New Contemporaries '96

New Contemporaries 96, the most important annual exhibition of student and recent graduate work in Britain, is relaunched at Tate Gallery Liverpool.

Invisible Crowds

A video installation based on a performance in which 50 people got on and off a BC Transit Bus in Vancouver, Canada.

Cabin Fever

Economist Summer Show

Field