https://jameshazel.net 2026-03-31T23:17:31+00:00 always 0.5 https://freight.cargo.site/t/original/i/B2232315561452512308366566828636/Professor-Georgette-Theyskens.jpg https://freight.cargo.site/t/original/i/W2647937192229153494456780322513/454722433_18265743214222680_3720732995283515828_n.jpg https://jameshazel.net/james-hazel-1 2026-02-16T04:37:43+00:00 always 0.5 https://freight.cargo.site/t/original/i/B2244031733345877364820426959452/2025-02-25-00325.jpg <h2>a broadcast from nowhere that goes somewhere (i dream again of loving my destiny) 2025</h2> Text, voice, alto saxophone Duration: 10 minutes ANALOGUE: MERRYLANDS 2025 <div style="text-align: left;">Image credit: Performance of ‘a broadcast from no-where that goes some-where (i dream again of loving my destinity) for working-class vocality & alto sax. Performed w/ Jack Stoneham. Event produced and created by <a href="https://www.instagram.com/_thewerewolf/">@_ thewerewolf</a>. Photographer <a href="https://www.instagram.com/annakucera.au/">@annakucera.au</a> (Anna Kucera). Curated by <a href="https://www.instagram.com/kaztherese/">@kaztheres</a> MERRY LANDS is the first part of the TRIBUNALS: HOME project. Supported by <a href="https://www.instagram.com/creative.australia/">@creative.australia</a> <a href="https://www.instagram.com/ausculturalfund/">@ausculturalfund</a> & <a href="https://www.instagram.com/createNSW/">@createNSW</a></div> https://freight.cargo.site/t/original/i/E2630481944379377558228315797201/151_MERRY_LANDS_photocredit_AnnaKucera.jpg <h2>a broadcast from nowhere that goes somewhere (i dream again of loving my destiny) 2025</h2> Text, voice, alto saxophone Duration: 10 minutes ANALOGUE: MERRYLANDS 2025 <div style="text-align: left;">Image credit: Performance of ‘a broadcast from no-where that goes some-where (i dream again of loving my destinity) for working-class vocality & alto sax. Performed w/ Jack Stoneham. Event produced and created by <a href="https://www.instagram.com/_thewerewolf/">@_ thewerewolf</a>. Photographer <a href="https://www.instagram.com/annakucera.au/">@annakucera.au</a> (Anna Kucera). Curated by <a href="https://www.instagram.com/kaztherese/">@kaztheres</a> MERRY LANDS is the first part of the TRIBUNALS: HOME project. Supported by <a href="https://www.instagram.com/creative.australia/">@creative.australia</a> <a href="https://www.instagram.com/ausculturalfund/">@ausculturalfund</a> & <a href="https://www.instagram.com/createNSW/">@createNSW</a></div> https://jameshazel.net/projects-1 2026-02-19T05:45:33+00:00 always 0.5 https://freight.cargo.site/t/original/i/Z2630484749870896752419182868177/vlcsnap-2025-09-19-14h40m24s993.png Poor Opera(tions) James Hazel 2022-ongoing POOR/PARA OPERA(TIONS) is an exploratory ‘poor’ opera company concerned with making ‘cheap performances within one’s means’ across the three ecologies. The first iteration B(Z)LOOM ANONYMOU$ was performed as part of Liquid Architecture’s MONO-POLY; the second iteration THE MARINE ROOM, was developed at PACT Centre with mentorship from choreographer Martin Del Amo. Documentation by Jeremy Elphick. https://freight.cargo.site/t/original/i/X2632990811608230456925567186641/vlcsnap-2022-10-25-14h47m09s498.png <div style="text-align: center">(Under)scoring the Commons 2022 Single-channel HD video with 2-channel sound, 8 minutes informed by broader artistic, activist, and research practices (and earlier projects such as DANGER/DANCER and Cont. Score) concerned with the acoustics of gentrification, (under)scoring the commons is an ongoing project that aims to: pre(care)iously listen to the shifting soundscapes & sonic practices of gentrified environments & how these index social and interpersonal relations within communities / emphasising ‘staying with’ multiversal working/under-class histories, localities, social-ecologies, meanings, and memories, across sustained lives and livelihoods into uncertain futures / maintaining a porous structure: welcoming collaborators at any career level, life stage, occupation, or discipline. Documentation by Jeremy Elphick. </div> https://freight.cargo.site/t/original/i/M2632990811589783712851857635025/vlcsnap-2022-10-25-14h46m01s357.png https://freight.cargo.site/t/original/i/I2632990811626677200999276738257/vlcsnap-2022-10-25-14h47m17s507.png https://freight.cargo.site/t/original/i/E2647870267330973611761260164817/MERRYLANDS.jpg https://freight.cargo.site/t/original/i/Q2647876840902011254454816732881/Screenshot-2025-11-14-at-7.41.29pm.png <div style="text-align: center">A Broadcast from Nowhere that Goes Somewhere (I Dream Again of Loving My Destiny)) James Hazel 2025 Performance documentation, 4K single-channel video with 2-channel sound, Microphone, Text Score, Alto Saxophone 1st photograph: Photographer <a href="https://www.instagram.com/annakucera.au/">@annakucera.au</a> (Anna Kucera) 2nd Photograph: Still from video documentation by Jeremy Elphick MERRY LANDS is the first part of the TRIBUNALS: HOME project. This project is produced by <a href="https://www.instagram.com/_/">@_</a> thewerewolf_ and supported by <a href="https://www.instagram.com/creative.australia/">@creative.australia</a> <a href="https://www.instagram.com/ausculturalfund/">@ausculturalfund</a> & <a href="https://www.instagram.com/createNSW/">@createNSW</a> Partners: <a href="https://www.instagram.com/Liferitesfunerals/">@Liferitesfunerals</a> and THE COMMUNITY REFUGEE WELCOME CENTRE.</div> https://freight.cargo.site/t/original/i/V2648148088154104296984154601169/4KorFeralBiancaLylaCliffordJamesHazelKazTherese_KingsARI_March2024_InstallDocumentation_PhotoSebastianKainey_3500px-11.jpg <div style="text-align: center">4k or Feral 2024 Bianca Lyla Clifford James Hazel Kaz Therese Kings Artist-Run-Initiative: 14 March 2024–13 April 2024 Documentation by Sebastian Kainey Emerging from discussions and embodiments among the three underclass artists from social-housing backgrounds, 4K or Feral explores the notion of ‘fidelity’ from a working-class, intersectional perspective. Beyond the idea of ‘lo-fi’ as merely a co-optive or performative strategy employed by the design practices of the so-called creative class, or corporate propaganda, here we seek to examine what it means to work within the limitations of practice in a time of ongoing disaster by returning to what is available to the artists (often cheaply available media) and aligning with the ad hoc emergent. </div> https://freight.cargo.site/t/original/i/V2648148208168621240538497414865/4KorFeralBiancaLylaCliffordJamesHazelKazTherese_KingsARI_March2024_InstallDocumentation_PhotoSebastianKainey_3500px-6.jpg https://freight.cargo.site/t/original/i/D2648152201519778317182231246545/Untitled-design-4-2.png https://freight.cargo.site/t/original/i/A2648152287592286165110999086801/Exhibition-Shots-9.jpg https://freight.cargo.site/t/original/i/S2648152637969743101150222481105/Exhibition-Shots-8.jpg Atmosphère Commune (Comoning Atmospheres) 2024- Supported through HAIR AIR Cité Internationale des Arts Residency; and CREATENSW Exhibition documentation by Cristea Zhao investigates the (counter)economies of ventilation shafts, originally installed as part of the Metro system in the early 20th century, when gentrifying social engineers sought to ‘breathe fresh air’ into the city, displacing working-class communities in turn. Beyond their ‘practical’ function, these sites also operate as more-than-weather systems of atmospheric ‘commoning’ for precarious communities and individuals in Parisian urban spaces during the extreme forces of Winter. https://freight.cargo.site/t/original/i/Z2650974177067923518978335831761/Screen-Shot-2022-05-11-at-2.21.16-pm.png https://freight.cargo.site/t/original/i/H2650974510935544509047510529745/DSC02342.jpg https://freight.cargo.site/t/original/i/I2650976213330214839480900515537/DSC02315.jpg Cont. Scores (2018-) Bricolage scores, interactive browser, collected sound recordings Exhibited June 2019, 107 Projects, Redfern Exhibition photographs by Tina Stefanou The Cont. Score Project is an assemblage of hastily written scores, and collected sound objects - mainly those of the sound contributions from the public. Repositioning the sacred status of the music score, and following the practice of fluxus bricolage, which emphasises the “not-well-made” or “almost-made,” these handwritten scores (installed in various Sydney suburbs) offer instructions to perform everyday sonic activities (singing, laughing, beatboxing) which, in turn, coax serendipitous contributions from the public through a website accessed via smart phones. Cont. Score calls into question utopic ideas (including my own failures in this context) about democratising art for a *stable* public and the tensions that arise between two agendas that dominated the work at different stages and which only occurred to me post-exhibition: i .e. earnest aspirations for creating collective work vs. the commodification of public data within neo-liberal cultural sphere Cont. Score project discussed in:Cleo Mees (2020). "Letters to Sheila: Improvisational Scores in Creative Practice Research". Choreographic Practices, Vol. 11, No. 1, pp. 9 - 27. <a href="https://doi.org/10.1386/chor_00009_1" target="_blank">https://doi.org/10.1386/chor_00009_1</a> https://freight.cargo.site/t/original/i/Z2650976825891245295153981028049/DSC02318.jpg https://freight.cargo.site/t/original/i/L2690489935463595617010006226641/STRUCTURAL-LISTENING-SURPLUS-VOCALITIES.png Structural Listening; Surplus Vocalities 2025 Workshop Performance George Paton Gallery How can we better understand experiences of precarity and social class within late-stage capitalist institutions? Facilitated by artist and sociologist James Hazel, this workshop will focus on creating a series of ‘structural listening’ scores aimed at exploring the social practices, experiences, and embodiments rendered invisible by neoliberal governmentality and administrative logics. Through the lens of song, music, sound, and the sonic arts — and drawing on Brandon LaBelle’s idea of poor acoustics — we will explore what it means to attune to the barely audible and pre(care)ious thresholds of under/heard socioeconomic experience. By engaging with auditory knowledge(s), we ask how listening might open up new ways of understanding and attending to soft-lives lived in precarity. https://freight.cargo.site/t/original/i/G2692363617597383409326037006033/vlcsnap-2025-12-12-17h06m44s266.png https://freight.cargo.site/t/original/i/Y2692364105384636950427710387921/vlcsnap-2025-12-11-15h44m21s260.png <div style="text-align: center">Atmospheres (an interminable thickness) 2025-6 Sound, text, fan, plastic sheet, synth, microphones, speakers Kristina Chan,Sophia Ndaba, James Hazel economics eclipses ecologies eclipses economics the body is, and is, always more than its inscriptions a hinge In 2025, we spent time developing Atmospheres which we instigated in 2023 during the <a href="https://www.instagram.com/critical_path_/">@critical_path_</a> Regional Fellowship. on Awabakal and Worimi Country, with volunteer collaborators across professions and forms of labour we explored the city’s atmospheric-classed-ecological refrains: its creaking coal-mining and steelwork resonances its accelerating gentrification its working and precarious bodies, cross-classed voices we felt and shared in coalitions of things, forces, interventions, eruptions ordinary and extraordinary across text, voice, writing, storytelling and site (& synthy forms between) immense thanks to Jo, Matt, Heidi, Hannah, Jacinta for your contributions and energy and to <a href="https://www.instagram.com/catapult_dance/">@catapult_dance</a> for hosting next in 2026: Biripi Country supported by Create NSW <a href="https://www.instagram.com/creatensw/">@creatensw</a></div> <div style="text-align: center">documentation by Sam James</div> https://freight.cargo.site/t/original/i/T2692364957993148037283186079441/vlcsnap-2025-12-11-15h49m23s627.png https://freight.cargo.site/t/original/i/I2692365360039935123782863550161/vlcsnap-2025-12-11-15h46m21s056.png https://freight.cargo.site/t/original/i/W2700071334619239614581650618065/Hum (study for bell interiorities) - James Hazel (2019) Hum, Study for Bell Interiorities James Hazel 2019 For mixed ensemble Institutional time rendered audible. Bells operate as non-human scores, orchestrating bodies, and labour. The bell as a technology of temporal structure. 20191128 Incubating 003 performed at Oil Tank Culture Park, Seoul, South Korea performed by Ensemble MISE-EN Podduced by Arts Incubator(<a href="https://www.youtube.com/redirect?event=video_description&redir_token=QUFFLUhqbElIb3cxQWxCVTU4YklyQUdhcV80S0xVVjNFUXxBQ3Jtc0ttUzdfTEpoY2hwcmxzMmxYZW5VUnRkbURnN1JMQ1JIS05zaXRXQlJpSnlxUTdraFhNVDZ5QjJVQWN2el9lV3NqWGpqb244aWZsd3VzSlVGOWM2RUxSZzg3QU8zUkpITlhPMkk3SzVMb1ZvSkZUdlNhZw&q=https%3A%2F%2Fwww.artsincubator.kr%2F&v=WAv8pj_8LqA">https://www.artsincubator.kr</a>) https://freight.cargo.site/t/original/i/X2700187656116466356345940342481/Mattering (2024) Mattering (score) 2024 Strings, voices, electronics Score for Mattering by James O'Hara. Performed by The West Australian Ballet for State Contemporary Vision https://freight.cargo.site/t/original/i/R2705204865321581398934670407377/IMG_4928.jpeg Gestures (both known and unknown) (2018) Guitar, metal plectrums, delay-pedal, amp, fan Comissioned by Maitland Regional Art Gallery. Exhibited march-june, 2018, as part of Sonant Bodies’ self-titled exhibtion with Victoria Pham https://freight.cargo.site/t/original/i/D2706687778103718897981320459985/4KorFeralBiancaLylaCliffordJamesHazelKazTherese_KingsARI_March2024_InstallDocumentation_PhotoSebastianKainey_3500px-12.jpg https://freight.cargo.site/t/original/i/Z2751133889486736138283580258001/vlcsnap-2022-10-26-19h02m36s865.png https://freight.cargo.site/t/original/i/D2751179528613142391232652506833/vlcsnap-2022-11-05-17h42m38s917.png https://freight.cargo.site/t/original/i/V2751186227234658109603259479761/vlcsnap-2022-10-25-14h46m47s817-copy.png https://jameshazel.net/texts 2026-02-17T09:48:05+00:00 always 0.5 https://freight.cargo.site/t/original/i/B2232315561452512308366566828636/Professor-Georgette-Theyskens.jpg https://jameshazel.net/dates 2026-02-19T06:07:11+00:00 always 0.5 https://freight.cargo.site/t/original/i/O2732040645804569685722070906577/a2442667803_10.jpg https://freight.cargo.site/t/original/i/L2801998743311530807605568337617/Screenshot-2026-02-19-at-12.30.03pm.png https://jameshazel.net/score-archive-1 2026-02-19T05:36:42+00:00 always 0.5 https://freight.cargo.site/t/original/i/B2232315561452512308366566828636/Professor-Georgette-Theyskens.jpg https://freight.cargo.site/t/original/i/I2802051666466875958097868093137/Trying to Find a Way Through This Malaise by James Hazel https://freight.cargo.site/t/original/i/A2802268652953317577307899426513/James Hazel: “Some things I should have told you (before I withdrew)" https://jameshazel.net/cv 2026-02-17T01:38:13+00:00 always 0.5 https://freight.cargo.site/t/original/i/B2232315561452512308366566828636/Professor-Georgette-Theyskens.jpg https://jameshazel.net/middle-nav 2026-01-06T03:52:47+00:00 always 0.5 https://jameshazel.net/bottom-nav 2026-01-06T03:52:47+00:00 always 0.5