Slade School of Fine Art UCL
Gower Street London WC1E 6BT
firstname.lastname@example.org +44 (0)20 7679 2331 Ext: 32331
I was born in Guildford, Surrey and received a BA (hons) at Middlesex University before gaining a Higher Postgraduate Diploma in Fine Art at the Slade School. In 1995 I took up a DAAD scholarship at the Hochschule für Bildende Künste, Hamburg, after which I was awarded a Stanley Burton research scholarship at the University of Leeds, completing one of the first practice-based PhDs in Fine Art in 2001. I started teaching at the Slade School in 2011 and am co-ordinator of the practice-led PhD option within the department.
I have been supervising practice-led PhDs in Fine Art for 17 years and work with a broad range of candidates. I am currently interested in working with students open to developing their work in the following areas: performance, performativity, music, artists' writing, feminisms, participatory practices, activism, art and politics, climate change, artists archives and interdisciplinary and practice-based research.
I am interested in performance and performativity, documentary practices, humour, subjectivity and fiction. Over the past few years, I have worked both individually and collectively and have learnt as much about how collectives function as I have about how I function as an individual. My commitment to working creatively around the current economic, social and ecological crises forged The Gluts (Hayley Newman, Gina Birch and Kaffe Matthews) and our eco-electro musical Café Carbon which we took to the Copenhagen Climate Summit in 2009 and subsequently performed at Whitechapel Art Gallery, Camden Arts Centre, Café Oto and Modern Art Oxford in 2010. For Café Carbon we wrote songs about food and climate; cheap chicken, food-transportation, over-consumption, water, allotments, mechanization and the beginning of modernity were all on the menu. The Gluts are on vimeo: https://vimeo.com/user9406355
My pre-Occupy novella Common, written as Self-Appointed Artist-in-Residence in the City of London over the summer of 2011, was published by Copy Press in 2013. In Common I wrote about the economic crisis from within; as it was happening on the streets of the Square Mile. Alongside fantastical imaginings and writings from the heart, the book documents the crash in global markets caused by the downgrading of American debt, turbulence in the Eurozone and the protests/riots that started in London before spreading across Britain.
In 2014 I completed the work Histoire Economique; frottage renderings of the fronts of banks in the City of London and Domestique a series of used dishcloths embroidered with faces. I am currently engaged with a related writing project Facadism (2012 - present); a novella about memory, faces and building facades.
I am currently an Art360 award holder. Art360 is an independent charity set up to empower artists and estates to manage, protect and make their work accessible. www.hayleynewman.org
The Slade appointed me in 2011 to help set up the new practice-led PhD option within the school.
I have supervised 9 doctoral students to completion and have examined 14 PhD candidates.
As primary supervisor:
- Sarah Fortais, "Defining cool through a bricoleur's studio practice" (Slade School of Fine Art, UCL, 2018)
- Lawrence Sullivan, "Towards a philosophy of instant rhythm and generative theory," (Chelsea College of Art and Design, UAL, 2012)
- Aaron Mcpeake, "Nibbling at Clouds: the visual artist encounters adventitious blindness," (Chelsea College of Art and Design, UAL, 2012)
- Yva Yung, " Let it simmer over summer: an artist's journey, pause and composition," (Slade School of Fine Art, UCL, 2016)
- Kate Pelling, "Select Reject Reconfigure: Editing Speech in Artists' Direct Address to Camera (Chelsea College of Art and Design, UAL, 2016 [Primary Supervisor until 2015])
- Aaron Murphy, "Inviting Synchronicity," (Slade School of Fine Art, UCL, 2015)
- Jenny Lu, "Between Homes - Examining the notion of the Unheimlich in Art Practice and it's Relationship to Post-Colonial Identity in Taiwanese Contemporary Society," (Chelsea College of Art and Design, UAL, 2008)
- Celia Pearce, "Playing Ehtnography: A study of emergent behaviour in online games and virtual worlds," (Central Saint Martins, UAL, 2006)
- Theresia Peng "An Exploration of Tibetan Tantric Buddhism and its Art: a Potential Resource for Contemporary Spiritual and Art Practice," (Slade School of Fine Art, UCL, 2013)
Free the Pussy!2018
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 1990s2018
Longside Gallery at Yorkshire Sculpture Park
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
THE EXCHANGE, PENZANCE, CORNWALL TR18 2NL
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 Pulpits2016
The Swedenborg Society, London
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)2015
Collyer Bristol Gallery, London
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 Britain2015
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 Novel2014
Fabra i Coats - Centre d’Art Contemporani de Barcelona
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 Absurd2013
Mead Gallery, Warwick Arts Centre
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 Collection2013
Europe House, London, UK
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 Collection2013
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 Head2013
Castlefield Gallery, Manchester
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 Collection2012
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 Festival2011
Morley College, London
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)2011
Project Arts Centre, Dublin
“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 Vain2011
Whitechapel Art Gallery, London
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 – 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' Market2010
Handel Street Projects, 19-21 Sicilian Avenue, Holborn, WC1
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 feet2010
Mac Val, Paris
“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 feet2009
Musee National des Beaux-Arts du Quebec Quebec, Canada
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.
Pump House Gallery, London
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 Collection2007
Yorkshire Sculpture Park
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 BODY2007
Centre d'Art Contemporain, Geneva, Switzerland
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 1995-20052006
Estorick Collection of Modern Italian Art
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.
Latvian Centre for Contemporary Art
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 Ewigkeit2006
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.
South London Art Gallery
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.
Beaconsfield Gallery, London
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 alternative2005
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.
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.
Kunst Museum Luczern
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
British School at Rome
South London Gallery
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 Performance2004
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.
The Breeder, Athens
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.
Museum of Contemporary Photography, Chicago
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 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 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.
Centre d'Art Contemporain, Geneva, Swizerland
Solo exhibition at the Centre d'Art Contemporain, Geneva.
Contemporary Art Centre, Lithuania
International Three, Manchester and Trade Apartment, London
Ikon Gallery, Birmingham
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.
John Hansard Gallery
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.
International Three, Manchester and Norwich Art Gallery, Norwich
Superhero artstaar: beyond good and evil2002
Gertrude Contemporary, Australia
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 Vinyl2002
Huddersfield Art Gallery
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 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.
Lethaby Galleries, Central Saint Martins, London
Dot - one year archive2000
Studio of Elizabeth Price
Multiples x 42000
Temple Bar Gallery, Dublin and ICA, London
ICA, London; Cornerhouse Manchester and CCA Glasgow
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.
Point of View2000
Richard Salmon Gallery
A Shot in the Head2000
Connotations Performance Images, 1994-1998 (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 right1997
The New Contemporaries '961996
New Contemporaries 96, the most important annual exhibition of student and recent graduate work in Britain, is relaunched at Tate Gallery Liverpool.
The Western Front, Vancouver, Canada
A video installation based on a performance in which 50 people got on and off a BC Transit Bus in Vancouver, Canada.
Royal College of Art
Economist Summer Show1994
Economist Building, London
Built around a diverse selection of writings from leading researcher-practitioners and emerging artists in a variety of fields, The Creative Critic: Writing as/about Practice celebrates the extraordinary range of possibilities available ...
A to B in MK is an artists' book that documents 12 journeys on the Milton Keynes Redways. A to B in MK was a participatory mapping project developed by artist Hayley Newman with Milton Keynes Community Collaborators that took place on the Redways in Milton Keynes from 17th – 29th July, 2018. A to B in MK took the form of a number of collective walks and cycle rides on MK’s Redway; emotionally plotting segments of this network of paths, cycle lanes, trees, bushes and bridges. During the last two weeks of July the artist accompanied residents and visitors on their daily journeys to and from work or school and joined organised walks and bike rides; each trip was written as a story and published as a Redway guide. It is hoped that A to B in MK will contribute to discussion about the potential for the Redways to become a viable alternative to the road grid in Milton Keynes, one that brings the margins into the centre and connects residents, plants, places, insects and animals.
As the French philosopher and social theorist Michel Foucault defined the concept, 'biopolitics' is the extension of state control over both the physical and political bodies of a population. Poetic Biopolitics is a positive attempt to explain and show how the often destructive effects and affects of biopolitical power structures can be deconstructed not only critically but poetically in the arts and humanities: in architecture, art, literature, modern languages, performance studies, film and philosophy. It is an interdisciplinary response to the contemporary global crisis of community conflict, social and environmental wellbeing. Structured in three parts - biopolitical bodies and imaginaries, voices and bodies, and social and environmental turbulence - this innovative book meshes performative and visual poetics with critical theory and feminist philosophy. It examines the complex expressions of our physical and psychic lives through artefact, body, dialogue, image, installation and word.
This is the first major book on the more than 20-year history of Beaconsfield, an important artists association in London founded by two trained painters David Crawforth and Naomi Siderfin. Their story of curatorial innovation and experimentation over the years will inspire any burgeoning artist or curator.
The Gluts (Gina Birch, Kaffe Matthews and Hayley Newman) are an environmentally crusading girl band. Formed in 2009 to write Café Carbon a group of songs about food, capitalism and climate, we took our eco-electro/absurdo-feminist musical to the streets and bars of Copenhagen during the COP 15 Climate Summit, joining other concerned citizens to urge governments around the world to take action on climate change. This DVD shares the story of our trip and much more besides…
Common is a novella set in the City of London over the summer of 2011. Written in the run up to Occupy, it encompasses 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 as Self-Appointed Artist in Residence, events in Common take place over a day. The book brings together the past and present/personal and political and asks; how can lay people understand more about the current economic crisis? How might subjectivity and political agency be combined to create a text that is both immediate and reflective? How might we make sense of crisis from within? What is the impact of the economy on the environment? Common draws on two key literary references. The 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. Common is a metaphor for collapse (social, environmental and economic). Performance recurs throughout: my own interventions, the performance of markets and traders and of bonus the banker clown in the Crisis Cabaret. In March 2013 I performed this chapter onstage at the Barbican Theatre. Other performers included Martin Creed and Ai Wei Wei (by video). I began working in the City in 2009, when artist Andrea Mason and I held three Capitalists Anonymous meetings on the steps of the Royal Exchange. I have read from Common on numerous occasions including at organised reading tours in the City of London and at a debate around literature, activism and the climate commons.
Transmission Annual is a journal determined by the idea and act of distribution and reception; how art is encountered, circulated, and received. The journal is a discursive space for commissioned texts, artists’ contributions, interviews and other, experimental forms. The first volume of this journal is entitled Hospitality
Unlimited buy-one-get-one-free edition, signed and free at point of purchase when you buy a piece of rubbish destined for landfill.
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.
China Live: Reflections on contemporary performance art is a Chinese Arts Centre and Live Art UK bilingual publication including commissioned essays, artists’ pages and statements, photo documents, and reflections on the experiences of China and its Performance Art scene by British artists who have recently undertaken residencies there. Contributors include Shu Yang, JJ Xi and Yuan Cai of Mad for Real, He Chengyao, He Yunchang, Yang Zhichao, Colin Chinnery, Aaron Williamson, Howard Matthew, Curious and Hayley Newman.
Live art is one of the most controversial and hotly discussed areas of creative practice to emerge in the second half of the twentieth century. The history of the art of performance is one of challenge to audiences, art traditions and cultural values. No longer at the margins of cultural production and recognition, performance is now a common occurrence in major art institutions. With the turn towards social and transient art, the use of performance by many of today’s best-known artists, and the blurring of boundaries between visual art, theatre and live art, this is a groundbreaking and timely anthology. Accessible, critically astute and expansive, Live is an indispensable resource for all those with an interest in some of the most vibrant and contested issues in art today. Including a conversation with Marina Abramovic and works and words by Franko B, Jérôme Bel, Oleg Kulik, Yu Yeon Kim and Hayley Newman amongst many others.
A box set including 1,500 photocopied notes and a VHS cassette relating to the 2001 exhibition 'The Daily Hayley'.
Commissioned by Work & Leisure International for the exhibition 'Band Wagon Jumping', Nov 16 to Dec 15 2002, Manchester. Recorded August 20, 2002. A series of recordings of brass instruments being played on fairground rides. Recordings were made by Matt Wand and performed by Ivan Sampson.
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.
Musican Kaffe Matthews makes audio samples of live performances by Hayley Newman.
In 1996 a symbiotic relationship was set up in the public gallery space of Beaconsfield between visual artists David Crawford and Hayley Newman and sound artists Mika Vainio and Ilpo Väisänen - Pan Sonic. All four worked daily for five weeks linked by sound inputs and outputs. The live installation featured an industrial power climber, a video oscilloscope, Pan Sonic's precious sound machine, the typewriter, and the original prototype for Turbo Sound's earth-shaking Floodlight PA system.
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.
Performance of Crystalline
Performance of Hook and Eye and Crystalline.
Performance evening with Bedwyr Williams.
Performance of Hook and Eye.
A performance with my electronic scales, with sound sampled by Kaffe Matthews.
A curated performance event in Manchester and New York with artists including Paul Rooney and David Macintosh.
I curated a group of performances in the Sensation Exhibition. SMALL PLEASURES – Junge Britische Performance Art Gastgeberin: Hayley Newman, mit Hayley Newman, Beaconsfield, Claire Shillito, Bruce Gilchrist, Susannah Hart, Project Dark BJ COLE (Pedal Steel Guitar, Synthesizer) mit Beats & Loops von Luke Vibert
Performance in which I controlled volume by wrapping objects that make sound.
Performance in the context of Audible Light, at Oxford's Museum of Modern Art at the Zodiac Cub in Oxford.
In Drawing Dadao I collaborated with Chinese artist Yang Zhichao to produce a set of drawings documenting a three-day performance festival in Beijing. Yang Zhichao did ‘live’ drawings of performances on one of the days, after which he worked from photographs. The subsequent work mixes the ‘live’ drawings of the event with drawings from photographs.
This three-day international event brings to Ireland some of the leading exponents of cutting edge performance art practice. The distinguished performance artist and sculptor Marina Abramovic is curating the event and has chosen a selection of artists’ she sees as marking out a new ‘territory’ for performance art. Over the three days a wide range of work by over twenty artists will be presented in the North Wing of the Museum, ranging from live performances on stage, to video installations and artists’ interventions. Marking the Territory will provide visitors the opportunity to experience first hand some of the most innovative and influential performance work being made today.
Since 1999 Elizabeth Price has been working on a project to fulfil the clauses of the 1927 will of Alexander Chalmers. In an exhibition at Hackney Museum she invited artists to enact clauses 6, 8 and 9: (9) Hayley Newman will stand-in for the Librarian and will undertake to label and describe the artworks. Hackney Museum is housed in the same building as Hackney Library and for three days I became an unofficial librarian in the borough. With a matching brown corduroy jacket/skirt and copy card, I photocopied text from library books and periodicals to re-label artworks in the Alexander Chalmers Bequest. In the museum gallery these photocopied labels were stuck vertically and horizontally on the walls next to the corresponding artworks – photocopies of book spines ran vertically, while titles/captions were positioned horizontally. Placing the titles between, above and below paintings and sculptures in the collection meant that individual works had more than one description attributed to them. A list of the revised labels has been printed in a book published by Elizabeth Price in 2005. CHALMERS BEQUEST (CLAUSES 6,8 & 9), 2003 Susanne Clausen and Alun Rowlands, Thursday 19 December, 5.30 – 7.30 pm; Charlotte Cullinan and Jeanine Richards (artlab), Saturday 21 December, 5.30 – 7.30 pm; Neil Cummings and Marysia Lewandowska, Thursday 12 December, 5.30 – 7.30 pm – will act as collection attendants. _(8) Matthew Thomson and Alan Brooks will stand-in for the undesignated manual or technical workers, and will undertake the transfer of the collection from storage and ready it for display. (9) Hayley Newman will stand-in for the Librarian and will undertake to label and describe the artworks.
MiniFlux comprised of a printed list alongside roughly worked Plasticine models of the various objects. My original idea to house a collection of all the objects referenced in Fluxus scores looked impossible after I realised I would have to include a full orchestra, elephant and a wolf! On the 26th November 2005 musicians and artists were invited to devise a series of musical performances in response to the list. The evening was titled A Concert and took the form of a conventional concert with works by Anne Bean, The Bohman Brothers, Bruce Gilbert and Margarita Gluzberg.
A series of performances in a range of outfits made from spoons… sometimes performed with the then European Spoon Playing campion Simon Beresford – aka Simon Spoons.
Performances as part of a two-night event titled Moscio (Flaccid). The event was made in deliberate bad taste, as a critique of the then Italian President Silvio Berlusconi’s monopoly of the Italian media.
‘Their feet should not be on anything solid’ was devised by Hayley Newman and performed by Brighton based folk band Hamilton Yarns, who were instructed to only play when they were lifted off the ground.
Michael Curran directed me as Lady Luck, in a space full of mirrors accompanied by a drummer.
The Daily Hayley video (79 minutes, 2003) represents edited footage of the gallery performances. The video, directed by myself and edited by Gill Addison, was screened at CCA, Villnius in 2003.
Screening of 'The Gluts Go To Copenhagen' and live performance by The Gluts at Modern Art Oxford.
Musical performance and screening of 'The Gluts Go To Copenhagen' at the Horse Hospital, London.
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.
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*.
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.
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.
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 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.
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.
Wysing Arts Centre’s fifth annual festival of art and music. For the first time the festival will focus primarily on women in experimental and electronic music and art, or bands fronted by women. The Gluts screened our film: The Gluts Go To Copenhagen.
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…
At the launch of my publication A to B in MK I did a special performative tour of Milton Keynes pedestrian and cycling system the Redways, a network of 270km of mixed-use paths that run in parallel to the road grid and through the grid squares of MK. Their name comes from the russet red tarmac they are covered with, but the Redways are also green, corridors of connection that bring people, plants, fungi and animals together. The performance tour united cyclists, walkers, runners, to experience the Redways together. In this alternative tour, which started and ended at Willen Lake, people learnt how to read the Redways, experienced the ups and downs of winding around roads and took part in a choreographed multi-user parade. A to B in MK was a participatory mapping project developed by artist Hayley Newman with Milton Keynes Community Collaborators that took place on the Redways in Milton Keynes from 17th – 29th July, 2018. A to B in MK took the form of a number of collective walks and cycle rides on MK’s Redway; emotionally plotting segments of this network of paths, cycle lanes, trees, bushes and bridges. During the last two weeks of July the artist accompanied residents and visitors on their daily journeys to and from work or school and joined organised walks and bike rides; each trip was written as a story and published as a Redway guide. It is hoped that A to B in MK will contribute to discussion about the potential for the Redways to become a viable alternative to the road grid in Milton Keynes, one that brings the margins into the centre and connects residents, plants, places, insects and animals. Is this a re-imagining or a re-possession? A frame of curves sewn into the shadow of a grid. A red route pulls me in another direction and air smells green. Holding handlebars, I feel their grip. Disorientation is key. How many different languages are spoken here? What will these routes look like in 50 years time?
Cafe Carbon is an eco-elecro song cycle about food and climate change.
An experimental one-day symposium, curated by Joe Kelleher and Nicholas Ridout, in response to the exhibition Ragnar Kjartansson in the Art Gallery this summer. Kjartansson’s work brings together live performance, music, film, painting and drawing and often includes experiments in repetition and endurance, contemporary music, Icelandic literature and romantic melancholy. This day of performances and talks from writers, artists and academics will explore the theme of appropriation and is inspired by Kjartansson’s interest in making art out of the things that other people do. Dressing up as Death to entertain children or playing the saddest song you know for six hours non-stop, Kjartansson’s staging of everyday and peculiar behaviours, in which memory, entertainment and personal connections are all thrown together, gives them a strange new life. At once sincere and ridiculous - a kind of theatre. Why does this move us? With contributions from Emma Bennett, Karen Christopher, Broderick Chow, Richard DeDomenici, Laure Fernandez, Jordan McKenzie, Stacy Makishi, Madison Moore, Hayley Newman, Gary Stevens, Simon Vincenzi and David Williams.
Supernormal is a festival like no other, providing a powerful antidote to the current malaise of festivals-as-big-business. Blurring the boundaries between art and music, performer and audience, it champions the iconoclastic and the experimental, allowing risks to be taken and leaps of imagination to occur. Somewhere in spirit between the original Glastonbury Fayre and an eccentric village fete, Supernormal is the alternative's alternative. Live performance and screening of The Gluts Go To Copenhagen at Supernormal Festival.
The Daily Hayley video (79 minutes, 2003) represents edited footage of gallery performances from my durational exhibition and performance The Daily Hayley (2001). The video, directed by myself and edited by Gill Addison, was screened at Matt’s Gallery.
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
‘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.
Rude Mechanic was a month long collaboration between myself, David Crawforth, Finnish sound duo Pan Sonic and various invited musicians. The project, set up as an exploration of the relationship between sound and vision, located both performers and musicians within a symbiotic relationship in which the visual was urged on by the audio and the audio by the visual. Invited artists and musicians included: David Cunningham Robert Ellis Simon Fisher Turner Bruce Gilbert David Gilchrist Tiina Huczkowski Koan Kaffe Matthews Put Put Scanner Susan Stenger Jimi Tenor
Performances in The Daily Hayley were based on a 6 month collection of newspapers. They took place over 16 consecutive days at Matt’s Gallery, London. In The Daily Hayley newspapers were used as scores for improvised performances, as such text was used as instruction rather than description. In this work I ‘performed performance’, using performative strategies to reflexively examine the position and role of a performance-artist. One strategy was to create tension between engaging with the physical and psychological demands of performing for 6 hours a day, while maintaining awareness of my performative examination of liveness. As with previous work my performances reflected on their own eventual mediation: red contact-lenses caused continuous red-eye (a phenomenon of flash photography) and self-tanning lotion made my skin as saturated as images of magazine celebrity.
A volcanic eruption performed at the opening of How to improve the world: 60 years of British Art at the Hayward Gallery, The British School at Rome and The Mildmay Club.