A to B in MK is an artists' book that documents 12 journeys on the Milton Keynes Redways - a network of paths and cycle routes that criss-cross Milton Keynes - between the 17th and 29th July, 2018. A to B in MK took the form of a number of collective walks and cycle rides that emotionally plotted segments of this network of paths, cycle lanes, trees, bushes and bridges. During the last two weeks of July I 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 part of this 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.

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 ...

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.

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?

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.

Cafe Carbon is an eco-elecro song cycle about food and climate change.

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.

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

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.

‘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.

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.

Performance evening with Bedwyr Williams.

Performance of Hook and Eye.

Autumn Festival

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

Screening of 'The Gluts Go To Copenhagen' and live performance by The Gluts at Modern Art Oxford.

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.

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 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.

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…