INDEX_2020
James Hazel is a composer; artist; and researcher, primarily working with a bricolage of objects/subjects via scores, text, installation, performance, spoken-word, and video.

James is currently interested in resistant text and sonic practices (and making) that emerge within conditions of socioeconomic and bodily precarity; undermining the sacred ontological status of the classical music score - and high-art language forms and networks; making friends and long walks on the beach; as well as focusing attention on the neccessary cross-identity intimacies and coalitions arising in spite of the market-oriented competition fostered by post-capitalism. The latent and thick rituals of labour, data, technology, and capital have also been a recent interest - as have polemical text and video practices. He views his current work as a form of speaking-upwardly-to-come-downwardly.

James has presented work at/with Bundanon Trust, Vivid Sydney, Arts Incubating and Oil Tank Culture Park (Seoul, South Korea), Maitland Regional Art Gallery, Sydney Conservatorium of Music, Legs on the Wall, International Video Dance Festival of Burgundy, Metro-Arts (Brisbane), Gondwana Choirs, Backstage Music (AU), Pinnacles Gallery, Scanlines, Sydney Fringe Festival, City of Sydney, Catapult Dance/March Dance, Spineless Wonders, Lock Up Gallery, and Create NSW.

James has scored an Australian Dance Award winning production; awarded the NIDA-Sponsored Emerging Artist Award; and been featured as a finalist in the 7th International Media Arts Award. Recently, James’ Cont. Score Project was written about in the journal Choreographic Practises, Vol. 11. No.1.

adsrzine.com (w/ Sonya Holowell and Elia Bosshard)
theoperacompany (w/ Joseph Franklin and Tina Stefanou)
precarioustexts.com
Sonant Bodies (w/ Victoria Pham)


Contact
Media

I deeply acknowledge the Gadigal of the Eora Nation, the traditional custodians of this land and pay my respects to the Elders both past and present. I recognise the land on which I work is stolen land and that it was never ceded.