HAYLEY NEWMAN

9 Edwin Street
London
E1 4AY
Tel/Fax; 0044 171 3660151
e-mail; hayley@wierdspace.demon.co.uk

BIOGRAPHY
Hayley Newman was born in 1969. She completed her postgraduate diploma in 1994 at The Slade School of Art in London. In 1995 she was awarded a DAAD scholarship to study with Marina Abramovic at the Hochschule Fuer Bildende Kuenste in Hamburg. She is currently the recipient of the Stanley Burton Practical PhD Research Scholarship at Leeds University.

She began her performance career in 1994 with the performances Record and Kiss at the monthly night club Nosepaint in London. Her solo performance works, which have generally involved physical sound elements presented in direct relation to the body include Microphone Skirt (1995), Shot in the Dark (1996) and Hook and Eye (1998).
She has performed extensively in Europe and North America.

Her commissions include the 1996 collaboration Rude Mechanic that she co-devised with David Crawforth and the invited Finnish sound duo Pan sonic at the artist lead gallery space Beaconsfield. The CD titled Rude Mechanic was released in 1999 on Piano200/Beaconsfield. Other commissioned works include Connotations - performance images 1994-1998, a photographic retrospective of fake performance works that had never been made. This year she has completed the commissions Smoke, Smoke, Smoke (a silent choral work for a smoking choir) and the sound/performance work 10 stone 12 pounds in which the weight of various objects trigger sound samples to provide the soundtrack to her performance.

Since 1995 she has worked collaboratively with the Hamburg based filmmaker Nina Koenneman under the name Malcolm&lily. Works include That’s why they’re doing it, a begging happening on the Berlin U-Bahn and Donnerwetter, a miniature thunderstorm on the streets of Berlin. Other collaborators include the photographer Casey Orr and the queen of elecronica Kaffe Mathews.

Most recently she has curated the weekend of performance titled Small Pleasures at the Hamburger Bahnhof in Berlin. The weekend took place in the context of the programme Sensations as a part of the Sensation exhibition. She is currently working on the performance commission Soundgaze which she is making as Live Artist in Residence at the University of Lincolnshire and Humberside for Hull Time Based Arts.

CURRICULUM VITAE
Hayley Newman 9 Edwin Street London E1 4AY Tel/Fax 0171 3660151
E-mail: hayley@wierdspace.demon.co.uk

HAYLEY NEWMAN

18.11.69 Born in Guildford, Surrey

1988-1989 Bedford College of Higher Education, Bedford.
1989-1992 BA (Hon's) First Class, Middlesex University, London.
1992-1994 Higher Postgraduate Diploma in Fine Art, Slade School of Art, University College London.
1994-1995 DAAD Scholarship working in the class of Marina Abramovic, Hochschule fuer Bildende Kuenste, Hamburg.
1996-  Stanley Burton practical PhD research scholar, Leeds University.

INDIVIDUAL PERFORMANCE WORKS

1994  Record and Kiss, Nosepaint, London.
1995 Microphone Skirt performed at The Tingle Factor, Arnhem, Holland.
Tour performed at the Jahres Austellung, HfBK, Hamburg and at the Rote Flora, Hamburg.
Suicide Cat, Jahres Austellung, HfBK, Hamburg.
Kalte Schulter, Galerie KM235, Hamburg.
1996  Microphone Skirt, The Savage Club, Manchester.
Shot in the Dark as a part of the exhibition Geben und Nehmen, Kuenstlerhaus Schloss Plueschow, Mecklenburg: The Madrid Autumn Festival, Madrid: Club Foot, Nijmegen and Visionfest, Liverpool.
The British Ambience, various sound works, Berlin.
1997 Shot in the Dark performed at Videopossitive, Berlin: Hollywood Leather, London and Soundworks at The Museum of Installation, London.
Four Performance Sketches, a part of the exhibition One Night Stand, Norwich Art    Gallery, Norwich.
Crystalline I, Performa '97, Berlin.
Crystaline II, at Compass, hosted by The Sprawl, The Cockpit Theatre, London.
Three weeks without crutches, twelve solo performances for a bandstand made for the exhibition Between The Devil and the Deep Blue Sea, Beaconsfield/MUU Galerie, Helsinki.
Endless Loop for the exhibition Young Parents, Manchester.
1998 Hook and Eye, made in residence at De Fabriek, Einhoven for the exhibition Ron Ton    Tonnie, also performed at The NO TECH Festival, Podewill, Berlin: Tolve Netter, Bergen, The Tingle Factor, ICA, London: in collaboration with Kaffe Mathew's in London and Vienna.
Crystalline III  for the exhibition Ron Ton Tonnie, De Fabriek, Einhoven and Tolve Netter Bergen.
Human Resources I & II, Leeds University, Leeds.
An Evening with.... At Studio XX, Montreal: Reinventing the Diva, The Western Front, Vancouver:  Dimension Leap, Trafo, Budapest.
1999 Small Pleasures, curator of and participant in the performance event Small Pleasures which ran in the context of the programme Sensations within the Sensation Show, Hamburger Bahnhoff, Berlin.
Hook and Eye performed at Performance Index, Basel and Link, Prato Museum of Contemporary Art, Prato.
10s 12lbs as a part of the programme British Links, Museum of Contemporary Art, Oslo.
dr drr drumming part of the programme My Eye Hurts, The Green Room, Manchester and Threadwaxing Space, New York.

COMMISSIONS

1994 Ecomiss, four staged photographs in the boardroom of The Economist, commissioned for The Economist Summer Show, The Economist Plaza, London.
1995 Microphone Skirt commissioned by Osterwalder's Art Office, Hamburg.
1996 Powervideotapesoundtolightdrumkit, commissioned for the exhibition Cabin Fever, Royal College of Art Curating MA.
Invisible Crowds video commission at The Western Front, Vancouver, Canada.
Rude Mechanic a joint live art commission from the Arts Council of England, commissioned with the artist David Crawforth and in collaboration with the Finnish sound duo Pan Sonic, Beaconsfield, London.
1998 Connotations - performance images 1994-1998 a commission of fictional performance documentation for Hull Time Based Arts as a part of ROOT '98.
1999 Smoke, Smoke, Smoke, a silent choral work for a choir that smokes, commissioned by    Cardiff Art and Time, Chapter Arts Centre, Cardiff.
10stone 12pounds a solo performance commissioned by
Work &Leisure International at CUBE, Manchester.

COLLABORATIVE PERFORMANCE WORKS

Performances with Nina Koennemann as Malcolm&lily;
1995 That's why they're doing it - a begging happening, begging on the U-bahn in Berlin.
Delta and Friends, pissing on the posh side of town.
World of Sex, Sleepwalking on the Reeper Bahn, Hamburg.
Old Fashioned Paradise, Nude in a topless car, Hamburg.
1997  Donnerwetter, a miniature thunderstorm on the streets of Berlin.
1998  Flea Circus, miniature stereo flea theatre, Podewill, Berlin.
Animal, shopping mall, Berlin.

Other collaborations;
1997 The Multiplied Energiser, collaboration with EIKE, Gallerie by Night, Budapest.
1999  Millennium Bug, photo book in collaboration with Casey Orr.
33 45 78 '99 a disco event organised with Matt Wand and invited guests DJ Speedranch, Jansky and People Like Us, part of the festival RAND, Enns, Ausria.

GROUP EXHIBITIONS/ VIDEO SCREENINGS

1995  trans.form.identity, Copenhagen.
Video Jukebox 0.1, Alrosa 2000, Frankfurt.
Bedrock  - an evening of conventional technologies, All Girls, Berlin.
1996 The New Contemporaries '96, The Liverpool Tate, Liverpool and Camden Arts Centre, London.
1997 Doing in its own Right, video programme curated by Anthony Howell, The Serpentine Bookshop, London.
1998 Narcissism, voyeurism: performing for the camera, The Lux Centre, London.
1999  Home II, at Home, London.
VAPT, The Lux Centre, London.

TEACHING

1996-1999 Teaching assistant, Fine Art Department,  Leeds University.
1997-  Visiting Lecturer, Chelsea College of Art.

AWARDS

1995 Julian Sullivan Memorial Prize, Slade School of Art, London.
DAAD Scholarship.
1996-1999 Stanley Burton Practical PhD Research Scholarship, Leeds University.
1999 Arts Council of England, Artist in residence at the University of Lincolnshire and    Humberside.

SELECTED BIBLIOGRAPHY

1996 Hayley Newman, The Front Magazine, Vancouver (Feb/March issue).
We are all prisoners on this bus, The Vancouver Sun (Feb).
Cabin Fever, pub: RCA London.
The New Contemporaries 1996.
Geben Und Nehmen, pub: Kuenstlerhaus Schloss Plueschow, Mecklenberg.
Rude Mechanic: pub. Beaconsfield, London.
Listen with your eyes, The Big Issue (London November).
Rude Mechanic - a pyrotechnic performance, The Wire Magazine (dec.).
1997 Hub capped diamond studded halo, Mute Magazine (Jan).
Stars of the small screen, Independent on Sunday (?).
Between the Devil and the Deep Blue Sea, pub. Beaconsfield.
1998 The Tingle Factor, Live Art Magazine (may - aug).
Hayley Newman: L'impossible disparition, http://www.studioxx.org/metaFB/
1999 Rude Mechanic, an audio document of the 1996 project (Pan sonic, David Crawforth,    Hayley Newman and invited guests). CD pub. Piano2000/Beaconsfield.
Rude Mechanic, The Wire Magazine (Jan).
Hayley Newman, ARTFORUM (march).

PRESS
PRESS

Hayley Newman
9 Edwin Street
London
E1 4AY
Tel/fax; 0044 171 3660151
E-mail: hayley@wierdspace.demon.co.uk

Hayley Newman's performance Microphone Skirt - in which a skirt made of rigged up microphones jostles together increasingly loudly while she gyrates her hips - is the most compelling piece of performance I have seen in a long time.' Mute, jan 96

'With her arms raised and her body twisting in a kind of staccato posturing, she vogued her way through a metallic score in a dress drenched with light from banks of strobes on either side of the stage.' The Independent on Sunday (date?)

' Then I was given that elusive tingling sensation. Hayley Newman's Hook and Eye was perfect. Outfitted in a black suit of microphones, every (powerfully choreographed) action registered as a fiery crackle or metallic grating that intensified and died as did her motions. A bulb suspended at her right was also bound to her movement and flickered and burned the blackness with her rhythm. The piece was sudden and fierce and beautiful. A fellow audience member defined it as the sound from inside a rape. Certainly the coarse noises had a sinister quality, but as the light awed the darkness, so the energy and electric power of the piece dominated any such tormented undercurrents. Her piece ended; and the audience made the noise of a crowd recently showered with pins and needles.' Live Art Magazine may-aug 1998.
'Being in the chamber in the midst of Rude Mechanic sometimes felt as though you had been thrown into the monkey house with the orang-utans. Crawforth and Newman exhibited a mixture of listlessness peppered with outpourings of feverish activity, Fluxus style actions and when cabin fever really set in they'd try to escape through the roof by whinching themselves aloft in an industrial powerclimber. If some of the 31 tracks come across like people desperately trying to fill a space, the set stands as an impressive memorial to an ambitious experiment in the sustained unfolding of a process. Now that this vivid audio document has been made available, you don't have to have been there.' Rude Mechanic CD review, The Wire (Jan 1999)
'Superficially, Newman's work seems bewilderingly varied, but she always makes use of some element of deliberate inconsistency or contradiction. Spontaneous actions are performed, but simultaneously reflected upon; they are never used as ends in themselves. Improvisation and pre-planning are combined, but neither is privileged as the "proper" or "authentic" performance strategy. Seemingly arduous, painful or durational pieces prove to be out and out fakes, while apparently effortless, frivolous performances (such as the unapologetically campy Suicide Cat 1995, in which the artist impersonates a leopardskin rug with a rotating mechanical tail) require tough physical work, and sometimes incur injury. Transcendent moments are generated while being unmasked as showbiz hocus pocus, just as the performers charisma is shamelessly exploited even as its fetishistic, sham nature is laid bare.' ARTFORUM (Jan 1999)