HAYLEY NEWMAN

Hayley Newman (b 1969) received a BA at Middlesex University before gaining a Higher Postgraduate Diploma in Fine Art at the Slade School of Art. In 1995 she took up a DAAD scholarship in the class of Marina Abramović at the Hochschule für Bildende Künste, Hamburg after which she was awarded the Stanley Burton Practice-based Research Scholarship at the University of Leeds, completing her PhD in 2001. She is currently a Graduate Tutor in Fine Art at Chelsea College of Art and Design and in 2005/6 was Research Tutor at the Royal College of Art. In 2004/5, she was the recipient of the Helen Chadwick Arts Council of England Fellowship at the British School at Rome and the Ruskin School of Drawing and Fine Art, Oxford. She has performed and exhibited widely and has had solo shows at Matt’s Gallery, London, The Ikon Gallery, Birmingham and the Centre d’Art Contemporain, Geneva (2001-2003). Recent performances include Their feet should not touch anything solid, Camden Arts Centre, London; ffffashion, South London Gallery, London; Karoake Record Cutting, Barbican Art Gallery, London; Make-up/wake-up, Rialto, Rome; Volcano Lady, British School at Rome (all 2005). Recent group exhibitions include Chronic Epoch, Beaconsfield Gallery, London; Her Noise, South London Gallery, London; Documentary Creations, Kunstmuseum, Lucerne; Resonance, Montevideo, Amsterdam (all 2005);Camera/Action, Museum of Contemporary Photography, Chicago (2004) and Live Culture, Tate Modern, London (2003). Her current interest in Rubbernecking describes the act of slowing down, craning the neck and straining to look and involves a series of trips to places reported in the daily news. She lives and works in London and is represented by Matt’s Gallery.

Recipient of the Stanley Burton Scholarship

DAAD scholarship in the class of Marina Abramovic

In 2000 I was a nominee for the inaugral Becks Futures prize at the ICA in London.

The Chalmers Bequest is an ongoing project by artist Elizabeth Price.

Commissioned by Work and Leisure International.

Commissioned by the NOW festival, Nottingham.

Made while Arts Council England live artist in residence at Hull college of Art and Design. Performed at the festival TOOT organised by Hull Time Based Arts.

Commissioned by Hull Time Based Arts for the year of photography.

Commissioned by Work and Leisure International.

With David Crawforth and Pan sonic .

Performance directed by Michael Curran.

‘The fear of Friday the 13th is called paraskavedekatriaphobia meaning Friday, thirteen, and phobia respectively; alternate spellings include paraskevodekatriaphobia or paraskevidekatriaphobia) or friggatriskaidekaphobia , and is a specialized form of triskaidekaphobia , a phobia (fear) of the number thirteen. The origins of this fear are attributed to myriad sources including the last supper, phases of the moon, the Egyptian underworld and the Knights Templar but contemporary statistics show that the phobia persists in the strangest of ways, increased road accidents and unforeseen catastrophes.

On Friday the 13th of April in the Alma Project Space, Hayely Newman will take on the mantle of Lady Luck to perform a special ritual.

So the question is are you feeling lucky ?’

In collaboration with Aleks Kolkowski , Commissioned by Electra Productions, London.

7 inch singles made in collaboration with musician Matt Wand

In collaboration with Nao Bustamante

Soungaze, performed with Kaffe Matthews.

Disco event organised with Matt Wand, including DJ’s Speedranch and Jansky.

Performances with Kaffe Matthews, where I provide the sound while she does live-sampling.

At this festival I made work with Nina Konnemann my long term collaborator from the period.

Presentation of a work made on the way to the exhibition, with Nina Konneman as Malcolm&lily.

14. Performance-Art- Conference (PAC) 2006 / Ho Chi Minh City

Participants: America, Europe artists: 1/ Denis Romanovski Belarus 2/ Alexander Del Re Chile 3/ Boris Nieslony Germany 4/ Hayley Newman UK 5/ Myriam Laplante Italia 6/ Anat Pick Israel 7/ Alastair Maclennan N. Ireland 8/ Justin MacKeown N. Ireland 9/ Joszef Juhasz Slovakia 10/ Ferrande Bartalome Spain 11/ Ruedi Schill Switzerland 12/ Monica Gunther Switzerland 13/ Monica Klingler Switzerland / Belgie 14/ Dan Mackereghan US-American 15/ Marylin Arsem US-American 16/ Rolf Hinterecker Austria 17/ Elisa Anderssner Austria

Asia artists: 1/ Jason Lim Singapore 2/ Lynn Lu Singapore 3/ Haba Kaori Japan 4/ Paisan Thailand 5/ Ko Siu Lan Hongkong 6/ Hong O Bong Korea

Vietnamese artists: 1/ Ngo Thai Uyen 2/ Do Xuan Tinh 3/ Tran Dan 4/ Le Q. Anh Hao 5/ Dang anh Tuan 6/ Nguyen Huy An 7/ Nguyen The Hung 8/ Pham Duc Tung 9/ Nguyen Hong Hai

Was Wäre Wenn # 6 FÜR DIE EWIGKEIT

David Lamelas, Simon Dybbroe Møller, Hayley Newman, Mandla Reuter/Alexander Wolff, Yorgos Sapountzis, Pernille Kapper Williams, Dahn Vo

Curated by Henrikke Nielsen

Opening 09.09.2006, 7 – 9 pm Exhibition 14.09. – 21.10.2006

Jet, Memhardstrasse 1, 1078 Berlin www.j-e-t.org

How is it possible to document the here-and-now-quality of a live performance? According to the theoretician Peggy Phelan it is not. A performance becomes itself through disappearance and the documentation is only a spur to memory. ‘Für die Ewigkeit’ (‘For Eternity’) questions this hierarchical structure in which the document is subordinate to the live performance or event. The works elaborate somewhere between presenting and representing, between presence and mediation, between repetition and the unique moment.

Simon Dybbroe Møller playfully subverts the nostalgic connotations of the slide projection and addresses the fact that his own generation is familiar with early performances through art historical representation, only. A subject that is also crucial in Hayley Newman’s images that appear to be a visual record of the artist’s performance works, but are in fact documents of performances that existed only for the photo session. A similar uneasiness as to whether the artist actually did perform any action is present in David Lamelas’ photo from 1974 depicting the artist as a rock star performing on stage. The photo demonstrates how the mode of representation determines our evaluation and perception of identity.

Becoming a subject is a relational matter that takes two or more. Every performance needs an audience, and if nobody is there to watch, video offers a perfect solution. Yorgos Sapountzis has had a web camera on a historical building in Berlin record his lonely performance at night, and downloaded the images afterwards. A work that involves an at once exclusive and exploded audience, since everybody with Internet access could potentially watch. Pernille Kapper Williams also deals with the (in-) accessibility of her audience. Presenting an audiotape containing a reading from a Danish-German dictionary, she short circuits the performative aspect of language, since the audio piece is only visually accessible. The project presented by Mandla Reuter and Alexander Wolff is subversive in a different way, displaying the beginning of an event that took place last year and was ‘performed’ by a wide number of people that received an invitation and the key to an apartment in Warsaw. No documentation of the project exists as such, except from the stories circulating in (mainly) the art world. Dahn Vo’s work is the result of several performative actions to which no audience was invited in the first place: certificates of marriage or official charges of theft are framed and exhibited as self portraits. They represent a straightforward testimony with a high degree of ‘authencity’ in comparison to the unreliability of photography proven in the works by Newman and Lamelas.

The objects on view – be that video, slides, official documents, an audio tape or a key – may last for eternity, but nonetheless they possess what can be described as performative qualities.

“Für die Ewigkeit” is the last exhibition in a series of six under the title ‘Was wäre wenn’ (What If). At the end of the exhibition a comprehensive publication about the whole project will be published.

Jet Memhardstrasse 1 10178 Berlin Lena Ziese Telefon: 0176 280 642 99 mail@j-e-t.org

Performance of The Volcano Lady at the opening of the exhibition: 60 Years of British Art from the Arts Council Collection.

The archive was concieved and curated by artist Elizabeth Price

I curated a series of performance events in the ‘Sensation’ exhibition at the Hamburger Bahnhoff.

Curated by Susannah Hart and Kirsten Reynolds.

Organised by The Sprawl

“In March 2006, Milton Keynes Gallery commissioned MKVH (Milton Keynes Vertical Horizontal) by the artist Hayley Newman. The conceptual premise of the project – to drive a bus of volunteer passengers around Milton Keynes’ notorious grid system until it ran out of diesel – was especially apt for a city that grew out of an American model of a car-dependent culture. As ever in Newman’s projects, her often ironic, provocative and surreal propositions find meaning when they brush up against the everyday lives and experiences of the participants and audiences they engage. This publication is more than simply a document of the project, it functions as a touching and humorous score to a road movie of an altogether different order. In the claustrophobic world which Newman creates, the monotonous Milton Keynes landscape provides the constant backdrop to the idle conversations of our protagonists – their musings on art, politics and music. Their fears and passions collide with the real-world events of newspaper reports and radio broadcasts… and throughout the surreal effigy of Tim looks on…”

Artists pages by Hayley Newman and Yang Zhichao.

Rune Gade and Anne Jerslev ed,; Museum Tusculanum Press. Essay by Camilla Jalving: ‘Inventing Reality. On truth and lies in the work of Hayley Newman’.

Authors include: Hayley Newman, Amelia Jones and Peggy Phelan.