First Name:Roddy
Last Name:Hunter
Country:United Kingdom
Affiliation:Middlesex University | University of Dundee
Position:Principal Lecturer and Director of Programmes, Fine Art | Doctoral Researcher
Research Interests:
  • Performance Art
  • Action Art
  • Body Art
  • Conceptual Art
  • Exhibtion Practice
  • Archives / Archiving
  • Public Art
  • Event
  • Intermedia Art
  • Experimental Art
  • Installation
  • Video Installation
  • Intermedia Installation
  • Embodiment
  • Other
Important publications:Public output from research and scholarly activity Authored books: • Hunter, R; 2007; Civil Twilight and Other Social Works; Samizdat Press; Cardiff; 172pp. Articles and chapters in edited books: • Hunter, R. & Bodor, J; 2013; ‘Art, Meeting, and Encounter: The Art of Action in Great Britain’; Live Art UK: Histories and Practices; Heddon D. and Klein J (eds.); London; Palgrave Macmillan; 65-89 • Hunter, R.; 2004; ‘If We Take, Care: On ‘The Suicide of Objects’ (Mythology and Obsolescence)’; The Suicide of Objects; Bacon, Julie, ed., Belfast: Catalyst Arts, 44-54. ISBN: 0954908201. • Hunter, R.; 2004; ‘A Place to Place; a Site to See: The Predicament and Situation of the Table In some of Alastair MacLennan’s ‘Actuations’; Alastair MacLennan: Knot Naught; Mulholland, H. (ed.) Belfast: Ormeau Baths Gallery, Belfast, 177-184 • Hunter, R.; 2003; ‘... the true field of action is the hidden...’, interview with aimnín [artist Lurach Bredin]’; One Place Twice; Belfast: Sculptors’ Society of Ireland / Golden Thread Gallery. • Hunter, R.; 2001; Introductory essay and book-length interview; André Stitt: Small Time Life. London: Black Dog Publishing. ISBN: 1901033678 • Hunter, R.; 2000; Preface; André Stitt: Homework: Scores + Statements + Notes for Akshuns 1976- 2000; Köln: KRASH-VERLAG, ISBN: 3927 452971 • Hunter, R.; 2000; 'Against Belief in Ossification'; John Newling: Place [CD- ROM]; Nottingham: Far Ahead Publishing • Hunter, R.; 1999; ‘Re-mapping a psyche', interview with André Stitt; 0044: Irish Artists in Britain; Cork: Gandon Editions, 144-151 Refereed and published conference proceedings • Hunter, R.; 2011; ‘I think I now know’; Artistic Research in Action: Proceedings of the Colloquium on Artistic Research in Performing Arts 2; 23-48; Theatre Academy Helsinki, Finland. • Hunter, R.; 1999; ‘Three propositions concerning the performance of place and the place of Performance’; Northern Exchanges I; 37; Theatre Studies Division, University of Huddersfield; Huddersfield, England: Non-refereed articles: • Hunter, R.; 1999; ‘Notes...sources.... commentaires' (tr. Julie Bacon, adapt. Nathalie Perreault); Inter Art Actuel #74: 'Installaction', Québec: Éditions Intervention. 22-23. Available from: • Hunter, R.; 1999; 'Éloignement, rencontre, nomadisme' (tr. Julie Bacon, adapt. Nathalie Perreault); Inter Art Actuel #73, Québec: Éditions Intervention, 55-57. Available from: • Hunter, R.; 1997; 'Digging Deeper', interview with Alastair MacLennan; Transcript, Vol. 3 #1, Dundee, Scotland: Duncan of Jordan stone College of Art, 20-29 • Hunter, R.; 1996; ''Insurrection artistique sous surveillance' (tr. Julie Bacon); Inter Art Actuel #67, Québec: Éditions Intervention, 65-66. Available from: Exhibitions/Performances (Selected): • PAErsche | Displacing Time - die Muße; Künstlerforum Bonn; Orangerie Theater, Köln Germany, 11-12 September 2012; ‘The Action is in my Head / The Action is in Your Head’, ‘Interplay: Site Unseen’ (with Shaun CATON) • Observers; The NewBridge Project; Newcastle-upon-Tyne, England; 19 May 2012; ‘The Action is in my Head / The Action is in the Building’ • Guangzhou Live 011; YouYou Gallery, Guangzhou, China; 28 November 2011; ‘Opium Debt’ • Under The Paving Stones, The Beach; East Street Arts, Union 105, Leeds, England; 21-25 June 2011; ‘The Chapeltown Union of Psychogeographers’ [see ‘other forms of public output’ below] • O U I Performance Night #0; Bar Lane Studios, York, England; 9 October 2010; ‘The Heritage of Militarism / The Militarism of Heritage’ • Cu, FutureEverything; Palace Hotel, Manchester, England; 13th - 23rd May 2010; ‘Civil Twilight: Sun-bleached / Un-bleached Maps of Baghdad and Los Angeles’, ‘Civil Twilight: Psychogeographical Drawings of the Plaça de Catalunya, ‘That Which Is ... Recording’, ‘Untitled (The Production of Simulacrum’ • O U I -1 AKA 'The Sixth National Whippit Night'; Space 109, York, England; 20 February 2010; ‘That which is … (20.02.10)’ • The Pigs of Today are the Hams of Tomorrow, Plymouth Arts Centre, England; 23 January 2010; ‘Return … (23.01.10) • Performance Platform Lublin; Warsztaty Kultury, Lublin; 5-7 November 2009; ‘The Poem of the Right Angle (after Le Corbusier)’ • Between Sky And Sea II; Herdla, Askøy, Norway; 23 August 2008; ‘My Location is … Herdla’ [see ‘other forms of public output’ below] • In the Context of Art, Differences/Interactions; Centre for Contemporary Art Ujazdowski Castle, Warsaw, Poland; 10 May 2008; ‘Zero (Construction in Mental Space)’ • International Exhibitionist: ‘Do Something Different’, Barbican, London, England; 8 March 2008; ‘Don't Look At Me, I Won't Look At You’ • National Review of Live Art 2008, Tramway, Glasgow, Scotland; 7-10 February 2008; ‘TRACE: Displaced’ (with TRACE Collective) [see ‘other forms of public output’ below] • LIVE Performance Art Biennale: Participatory Dissent; Western Front, Vancouver, Canada; 18-20 October 2007, ‘Mutual Outsideness’ • Infr’action ’07; Sète, France; 2007, ‘L’anniversaire des pensées’ (with Judit BODOR) • Dorchester Festival 2007, Roman Town House, Dorchester, England; 25-28 May 2007, ‘... AND THAT WHICH IS NOT ( R O M A N ) AND THAT WHICH IS R O M A N ...’ • I Confess That I Was There: Approach; Switch Room, Belfast; 1 December 2006; ‘A report on the Progress of Progress’ (wiyh Judit BODOR) • EPAF (European Performance Art Festival) 2006; Centre for Contemporary Art Ujazdowski Castle, Warsaw, Poland; 11-14 September 2006 • Tract Live Art; St. John’s Hall, Penzance, England; 21-22 July 2006; ‘East-West (The Nearest Place From Where To Begin A Journey)’ • TRACE: In New York; Franklin Furnace, New York, USA; 7th April - 7th June 2006; ‘[The Noise of] The Street Enters The House / [The Noise of] The House Enters The Street’ • International Exhibitionist; Curzon Soho Cinema, London, England; 26 February 2005; ‘Untitled Reconstruction (Joy Of Life)’ • The Future of Imagination #2; Sculpture Square, Singapore; 8-12 December 2004; ‘(Toward) an Action in Another’s Body’ • 6. Werkleitz Biennale; 27-31 August 2004; Werkleitz Gesselschaft, Törnitz, Germany; Ethnographic Faultline (II) • Full Nelson 5; 2003; Pico Boulevard, Los Angeles, USA; ‘Civil Twilight (IV): auto-agora’ • Fix ’02’ Belfast Biennial of Performance Art; 2002; Catalyst Arts, Cathedral Quarter, Belfast, Northern Ireland; ‘Civil Twilight (III): auto-cathedra’ • ebent ’02; Centre De Cultura Contemporània De Barcelona (CCCB), Spain; 25-27 October 2002; ‘Civil Twilight (II): The Failure Of The Plaça De Catalunya’ • Navinki 2002; Victory Square, Minsk, Belarus; 6-8 September 2002; ‘Civil Twilight (I): The Impossibility of Immortality’, • Non-Silk Way, Asian Extreme Moving Workshop; 2002; Almaty, Taraz, Chimkent, Kazakhstan; ‘Nomos/Polis/Polis/Nomos’, ‘…when I think about Art, I think about the differences between Life and Culture’, ‘Hommage to Artaud/Schmit’ • Blurrr Biennale of Performance Art; 2001/3; Centre For Contemporary Art, Tel Aviv, Israel; ‘Civil Twilight (V): Symposia on Utopia’, ‘Relief From Territory’ • Live Art Programme 2001; Site Gallery, Sheffield, England; 2001; ‘Relief from Memory (V)’ • Degenerate Art Exhibition; Arnolfini, Bristol, England; 2001: ‘Relief From Territory’ [see ‘other forms of public output’ below] • La Acción y su Huella; Centro Galego De Arte Contemporánea (CGAC), Santiago de Compostela, Spain; 2000: “Relief from Memory (V)’ [see ‘other forms of public output’ below] • Periferic Biennial 4; The Turkish Bath of Iasi, Romania; 2000; ‘3 Actions Recurring’ • Black Kit + White Box, Performance Tage 2000, Seedamm Kulturzentrum, Pfäffikon, Switzerland; 21-23 January 1999 • Streetworks: a decade of live art on Glasgow streets, Street Level Gallery, Glasgow; 1998 • Dimensija 0; Centre For Contemporary Arts (CAC), Vilnius, Lithuania; 1997: ‘Empty Threat’ • Rencontre Internationale D’Art Performance Et Multimédia 1996; Le Lieu, Centre En Art Actuel, Québec, Canada; 1996; ‘Empty Action’ • Skót Õsz '95; Ludwig Museum, Budapest, Hungary; 1995; ‘Opening Ceremony’ • National Review of Live Art 1994, The Arches, Glasgow, Scotland; 1994; ‘Blind Tim’ • Annart 5 / Medium 3, Galeria De Artâ, Sfântu Gheorghe, Romania; 1994’ ‘Thin. Dirt. Spreading’ Other forms of public output: • Hunter, R.; Chapeltown Union of Psychogeographers; 2011; The Saucer; 48pp; East Street Arts, Leeds. ISBN: 9781906470098. Collaborative newspaper project. Key output of ‘new genre public art’ commission (in addition to website and billboard project) emerging from writer-in-residence project. Produced collaboratively by Level 2 BA Fine Arts students at York St John University and other commissioned artists. See article in ‘The Guardian’: • Trace: displaced; 2011; Stitt, A. (ed.); 200pp; Swansea: Parthian. ISBN: 1906998043. Project publication. Includes documentation of projects of the Trace collective of which I was co-creator ‘The Horse Enters The House’, National Review of Live Art, Tramway, Glasgow, Feb. 2008. Work discussed by Amanda Coogan, for Irish Museum of Modern Art: Cited in Roms, Heike; 2010; ‘Remembering Performance – Performing Memory: An Oral History of Performance Art in Wales’; Capter l'essence du spectacle/Capturing the Essence of Performance; Leclercq, N. et al (eds.); Congrès de Glasgow SIBMAS Glasgow Congress 2008, Brussels: Peter Lang, pp. 209–220. • Between sky & sea 2: video documentation from the international performance festival performance festival at Herdla Askøy, Norway; 2008:; Berlin. DVD Documentation and critical essay by Gillian Carson of festival of site-specific work on the Norwegian island of Herdla Askøy. Includes multi-sited work, ‘My Position is Herdla …’ • Ice Cream: Contemporary Art in Culture; 2007; Edelsztein, S et al (eds.) 156; London: Phaidon, 156-159. ISBN: 0714846805. Curated book. Works selected for inclusion by curator Sergio Edelsztein include: (Toward) An Action in Another’s Body, durational performance/installation, Sculpture Square, Singapore (2004); Relief From Memory (V), performance/intervention, Site Gallery, Sheffield (2001); (The Noise Of) The Street Enters The House / (The Noise Of) The House Enters The Street, performance/installation, trace: installaction artspace, Cardiff (2004); and work from Civil Twilight (2000-6): a body of work exploring the civic and ideological architecture of public spaces throughout United Kingdom, Belarus, Romania, Slovakia, Spain, USA, Israel, China, Netherlands, Hungary and Lithuania. • Hunter, R.; East-West (The Nearest Place From Where To Begin A Journey); Performance; St. John's Hall, Penzance; 22/07/2006. Art Surgery with Newlyn Art Gallery invited Hunter to Penzance to research and develop a site-specific performance project as part of a season of off-site work. Hunter’s on-going interest in ‘civic image’ led to investigation of the formative influence of trade upon the development of the town. The commission concluded with an installation and ‘report performance’ in a committee room of St John’s Hall, the text and images of which are evidenced in the publication ‘Civil Twilight & Other Social Works’ [172 pp, Trace: Samizdat Press, March 2007]. • Hunter, R. & Stitt, A.; Span²; Curated project; Dilston Grove, London; 01/10/2001-30/10/2001. Span² was a major international project that offered residences to performance artists to make new contextual works over a four-week period, throughout October 2001, at Dilston Grove (formerly Clare College Mission Church in Southwark Park), London. See articles in ‘The Guardian’: and • Hunter, R.; ‘Relief From Territory’; 2001; The Degenerate Art Book; Hawthorn, M. (ed.); Bristol: Arnolfini. ISBN: 0907738672. Commissioned artist’s pages. Text work exploring issues of art, geography and spatial practice. • Hunter, R.; Relief from Memory (V); 2000; Performance/Installation; Centro Galego de Arte Contemporanea, Santiago de Compostela, Galica, Spain. One of an on-going series of performance/installation works primarily shaped by drawing, installation and action exploring the possibility of memory as essentially discontinuous, rather than continuous, in terms of its historical unfolding. Exhibited as part of 'La Accion y su Huella', curated by Sergio Edelsztein (of the Centre of Contemporary Art, Tel Aviv). The festival brochure and the current issue of the Centre's digest 'la Revista del CGAC', the latter published in 2001, both feature images and writing around the work and are available. • Hunter, R.; Rootless ’97: The Nomad Domain, Hull Time Based Arts, Hull; 1997; Curated project; Internationally significant, publicly accessible programme of cross-disciplinary research and practice either emerging from or located in the field of performance art. The project's principal focus of research: the profiling of contentious issues relating to the cultural impact of 'globalisation' for and beyond contemporary art discourses. The methodological rationale behind the curation sought to re-evaluate conventional conditions surrounding the formulation and dissemination of contemporary art practices. The curation also sought to promote dialogues between different artist-run networks and to develop new interfaces that advance society's understanding of contemporary art and vice versa. The event catalogue, published by Hull Time Based Arts, appeared as a supplement in 'liveartmagazine' #17, Nottingham, England: liveartmagazine. Other publications concerning the project appeared in 'Inter Art Actuel' #73, (Quebec: Editions intervention, pp 55-57), Out of Time: Hull Time Based Arts1994 to 1998 (ed. andrea Phillips, Kingston-upon-Hull: Hull Time Based Arts pp. 38-39), Mute, #9 (, and liveartmagazine, #18 (Nottingham, England: liveartmagazine) and Teleopolis, February 1997 (