False Note exhibition essay by Angelica Sule, curator of the exhibition and Director of Film and Video Umbrella.
False Note, solo exhibition at Site Gallery, Sheffield, March - May 2024
Published by Site Gallery
Risograph printed by Biscuits Press, 2024
2023
Catalogue published by FRAC Champagne-Ardenne, Reims.
Essay on my work ‘Ventriloquy for Radio / Ventriloquie pour la Radio’ by Kevin Hunt, translated in English and French. The sound installation Ventriloquy for Radio (2020) was aquired by the FRAC Champagne-Ardenne Collection in 2021.
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Textes : Boris Bergmann, Laurent Montaron, Alexandra Goullier Lhomme, Emeka Ogboh, Sarah McCrory, Ludovic Delalande, Sébastien Delot, Kevin Hunt, Lotte Arndt, Marie Griffay
Œuvre originale : Rabiya Choudhry
Illustrations de Manon Painteaux
Conception graphique : Léa Audouze et Margot Duvivier
21 x 15 cm
Français / Anglais
120 pages, illustrations couleur
ISBN : 978-2-907331-38-8
My text ‘Scenes from Temporary Commons’, 2021, has been published in Issue 2 of a row of trees, Volume 1, Issue 2
With contributions from Freya Dooley, Rebecca Glover, Una Hamilton Helle, Laura Harrington, David Lacey, Shirley Pegna, Sharon Phelan, Diana Lola Posani, Tom Soloveitzik, and Fern Thomas.
Editors (volume 1, issues 1 & 2): Patrick Farmer, Kelly Krumrie, Jaroslav Froněk. Published: September 2022
Link to Volume 1 Issue 2 here
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About a row of trees
Part of the Sonic Art Rersearch Unite (SARU) at Oxford Brookes University, a row of trees is an online journal started by Patrick Farmer.
a row of trees attempts to loosen the bounds between disciplines, and is committed to publishing new works across a variety of fields, backgrounds and mediums.
Where are the differences between vibration and the word ‘vibration’? How can we define something that in essence not only defines everything, but is defined by everything, that is part of the definition of everything?
Enfolding such ouroborotic percepts, a layer of intimation is felt whilst considering what we think about when we think about vibration, likewise, in obverse measure, what we don’t think about when we think about vibration.
Might any emergent patterns–what I consider to be fieldless fields, which in unto themselves do not pertain to a theory, but simply the intention, the image, of drifting among fields–be tones of manifestation? Whether referring to the ways in which ears (and the body) process frequencies, or walking and gleaning a field, said patterns are part of subject mattering, of the many professions of the amateur, the one who loves.
Vibration is at times, cultural, animal, botanic, alchemical, mythical, political, spiral, bacterial, contingent, cosmological, somehow elusive… Evidently it can become something of an impersonal term, alongside such others as polarity, causation, etc. If we seek elsewhere and otherwise, could we encounter more personal and ensouled attributes, realities of vibration?
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Testing Out Loud: essay by Angelica Sule, 2022
Thankyou to Angelica Sule for her essay ‘Testing Out Loud’ about my work, commissioned for the publication Aggregate in 2022. The publication accompanied the group exhibition of the same name.
Angelica is a curator and writer based in Sheffield. She is currently the Director of Programme at Site Gallery, Sheffield.
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Aggregate 2022, 228pp. published by Freelands Foundation, 2022
Artists in the publication are Becca + Clare, Brown&Brí, Jane Butler, James Clarkson, Mitch Conlon, Freya Dooley, Rebecca Gould, Maud Haya-Baviera, Jenny Hogarth, Rhiannon Lowe, Victoria, Lucas, Jasmin Märker, Will Roberts, Conor Rogers, Sarah Rose, Rae-Yen Song, Eothen Stearn, Neasa Terry, Thomas Wells, Joanna Whittle, and Mona Yoo. The book includes essays by artists, activists, academics, curators and writers.
Designed by Kristin Metho. Photo: The Book Photographer
MIMAZINA issue #27, December 2021
Published by MIMA, Middlesbrough
Edited and designed by Foundation Press
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I was invited by Foundation Press to contribute a ‘postcard’ from Rome to MIMAZINA during my residency at the British School in Rome, in the autumn of 2021.
“MIMAZINA is a digital community journal, developed with artist group Foundation Press, that brings together the voices of the communities we serve. Columns cover a range of subjects and activities, from local history, to nature and ecology, and making activities. MIMAZINA profiles the North East’s cultural scene and shares insights into the Middlesbrough Collection. Contributions are written by readers, those engaged with MIMA’s community programme, and members of the MIMA team.
MIMA is known for its deep engagement with communities and for working in partnership to support people to develop creative lives. MIMAZINA is about dialogue and exchange; it’s designed to be like a digital notice board or village magazine.”
Foundation Press are a collaborative artist group making projects experimenting with publishing, printing and collaboration. They create spaces where different conversations and voices can be heard and published.
MIMAZINA has been running since April 2020
Published 2020 by yellowfields
Designed by Conway and Young
yellowfields’ second volume Production Production explores labours of production which manifest through physical and emotional experience, from societal pulls of feminism, economy, race and sustainability.
Essay by Ellen Wilkinson
Features artist texts:
Reciprocity by Jade Montserrat,
The Visitor by Freya Dooley,
Material as Labour. Labour as Value. by Jo Lathwood,
(driver’s seat and skin merge) by Harriet Bowman
Pulled together through the commissioned essay Production Production by artist and writer Ellen Wilkinson.
Launch hosted by Eastside Projects , October 24 2020
This publication is one of a 3-part series including 'Overburden' and 'Intuitive Geometries: Women Making Contemporary Sculpture'.
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Yellowfields is a curated project by Georgia Hall, built for and by emerging artists and art professionals. Groups of artists, alongside a topic specialist, form thematic project groups each exploring societal themes connected to everyday life: the landscapes in which we live, sculpture by women within the public realm and labour. Publications, designed by Conway and Young, and corresponding events were produced in the autumn of 2020.
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Photographs by Conway and Young
More information about New Writing with New Contemporaries, with performances of The Understudy at Leeds Art Gallery (2019) and South London Gallery (2020) is here
Related articles and publications:
New Contemporaries 2019 catalogue here
IN RESPONSE TO CHANGING PRACTICES: New Writing with New Contemporaries by Holly Grange for Corridor 8, 2020
CALL IT WHAT YOU LIKE. ART AS WORDS, SPOKEN AND HEARD, Review of performances at Leeds Art Gallery by Amelia Crouch for Corridor 8 , 2019
IN THEIR OWN WORDS: New Contemporaries artists on using language in their practice, Profile by Lara Eggleton for Corridor 8 , 2019
Photo (1) Freya Dooley, The Understudy, performance at South London Gallery, 2020, photo by Sam Nightingale
Photo (2) Freya Dooley, The Understudy, performance at Leeds Art Gallrey, 2019, photo by Jules Lister
SOMEWHERE IN THE CROWD THERE’S YOU
Frosted clear 12” vinyl with full colour sleeve and insert
Edition of 250
Published by Eastside Projects, 2020
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Side A: I was sick and tired of everything (excerpt)
Side B: Suddenly I feel alright (excerpt)
Pay What You Can- available on the Eastside Projects website or email me directly at freyadooley (at) gmail (dot) com
All payments from the first 50 records will be donated between:
Black Minds Matter, connecting Black individuals and families with free mental health services by professional Black therapists,
and the UK QTIBIPOC Hardship Fund, set up to provide short term support to Queer, Trans and Intersex, Black, Indigenous, People of Color (QTIBIPOC) currently living in the UK who are affected by the outbreak and ongoing shutdown caused by Covid-19.
Plus postage (£4 UK / £7 Canada and US)
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When it came to performing, Agnetha liked the writing, the singing and the melodies, but she hated the outfits and the dancing.
All I do is eat and sleep and sing, wishing every show was the last show
Euphoric disco, synchronised heartbreak... With both couples divorced, being Abba was no fun anymore anyway. As time went on and the band’s popularity grew, Angnetha began to have terrible dreams in which the crowds consumed her.
Wrap your arms around me,
I won’t let you go
A long silence.
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Somewhere in the Crowd There’s You is an immersive soundscape of broken melodies and discordant harmonies. Layers of collected vocals, hooks, choral fragments and field recordings fall in and out of step. Voices compete for attention, drowned out by their own chorus.
The work takes its title from ‘Super Trouper’, the earworm hit by the not-so-harmonious pop-group Abba and a song which has occupied Freya’s mind for a couple of years now. The ‘group’ is a force for belonging- simultaneously claustrophobic and comforting, embracing and alienating- and something Agnetha eventually retreated from entirely, to pursue solitude in the place of expectation. The work explores anxious moments of synchronisation and discord when trying to keep up with your own performance.
Somewhere in the Crowd There’s You is a stereo remix of the multi channel sound installation of Freya’s solo exhibition of the same name at Eastside Projects, 2 March to 27 April 2019.
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SIDE A - I was sick and tired of everything (15’)
SIDE B - Suddenly I feel alright (13’)
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ISBN 978-1-906753-43 6
2020
Published by Eastside Projects
Design by Freya Dooley
Mix engineering by Freya Dooley and Jon Ruddick
Vocalists: Alice Burrows, Richard Bowers, Roger Graham, Caritas Choir, Cardiff Tuneless Choir, Chapter Singers and Cinzia Mutigli
With thanks to Jon Ruddick, Harry Morgan, Phoebe Davies, Ashley Holmes, Gavin Wade, Ruth Claxton, Sahjan Kooner, Annabel Duggleby, Amelia Hawk, Ania Bas, Adam Phillips, Deborah Bower, Cinzia Mutigli, Rhiannon Lowe and Shaun James
Supported by the Arts Council of Wales
Publication commissioned by Chapter to accompany my solo exhibition The Song Settles Inside the Body It Borrows, at Chapter Gallery, Cardiff, 2019.
Essays:
No Door on Her Mouth by Cherry Smyth
She Offered Some Notes by Nadia Hebson
Pictured: excerpts from Cherry Smyth’s essay
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Designed by Nelmes Design
Edition of 500
Edited by Hannah Firth and Freya Dooley
Supported by the Arts Council of Wales
A project devised, designed and published by Foundation Press
A4 risograph publication
Commissioned by BALTIC Centre for Contemporary Art, Gateshead
TALK OVER PRINT was a collaborative publication made for/during BALTIC Self Publishers Market, April 27 2019. TALK OVER PRINT is a collection of thoughts, both from those sharing books at the market and from self-publishers invited from outside of the northeast. The hope is that the book forms some sort of visual record of the day as well as a broader anthology of some of the different motivations and ambitions of people, producing their own books and publishing projects. This pamphlet also features riso-printed experiments made from the book covers of titles made by the contributors as well as other stallholders at the Self-Publishing Artists’ Market.
Year 2019 Collaborators:
Niyla Javaid, Mica Mota, Amelia Turner, Martin Skraban, Heather Chambers, Hebe Fryer, Amy Jobe, Natalie Martin, Alex Jones, Adam Phillips, Joe Woodhouse, Deborah Bower, Holly Argent (Women Artists of the North East Library), Steven Appleton, Giles Bailey, Elsa Bajracharya, Paul Becker, Holly Birtles, Jessie Churchill, Craig Pound (Dizzy Ink), Freya Dooley, Theresa Easton, Peter Falkous, Marc Fischer & Brett Bloom (Temporary Services), Barry Fox, Annalisa Furnari, Cath Garvey, John Harrison, Samuel Hasler, Ann Jarmolowicz, Pete Kennedy, Robin Kirkham (An Endless Supply), Annette Knol, Leeds United, Leonard McDermid, London Centre for Book Arts, Olisa. L.Osanakpo, Paper Jam Comics Collective, RISOGRAD, Riso Soup, Sabrina Schmid, Rosalie Schweiker, Helen Shaddock, Cherry Styles, Richard Swan, Julia Vogl, Matthew Walkerdine, Fritz Welch, Thomas Whittle, Andrew Wilson, Megan Winstone
COUNTERPOINT is a risograph publication produced in collaboration with Syllabus III, commissioned for the exhibition 'more of an avalanche' at Wysing Arts Centre, Cambridge. The zine features a double page spread each by Chris Alton, Ilker Cinarel, Frederica Agbah, Karis Upton, Rose Gibbs, Ben Sanderson, Freya Dooley, Phoebe Davies, Jill McKnight and Conor Baird.
The zine is available to read an take away from the more of an avalanche exhibition which is open from 11 Feb - 8 April 2018.
more of an avalanche presents work produced, researched, shared or discussed at Wysing in 2017 when the programme was developed under the theme Polyphonic (many voices). The exhibition takes the term "snowflake" as a starting point, a term used pejoratively by the political right to code dissent as whining, vulnerability as over-sensitivity and the right to protest as a willingness to take offence. Across Wysing's gallery and a screening room, works take sensitivity and fragility as a starting point and look for strength in numbers and strength in networks.
With work by Helen Cammock, Ilker Cinarel, Jesse Darling, Maryam Monalisa Gharavi, Juliet Jacques, Isaac Julien, Carolyn Lazard, Zinzi Minott, The Newsreel Collective, Harold Offeh, Raju Rage, S1 Portland (Women's Beat League), Syllabus III and Liv Wynter. Curated by John Bloomfield.
Photos by Wilf Speller
Photos by Frederica Agbah
56 pp artist book, black and white with full colour translucent inserts. and embossed cover. Edition of 100
Published as part of the solo commission 'Rhythms and Disturbances' at g39, Cardiff, with support from the Arts Council of Wales.
£8
Email freyadooley (at) gmail.com if you'd like a copy
A FINE SHAPE OF AN EMPTY SPACE
Performance reading at the publication launch of Rhythms and Disturbances at g39, Cardiff in March 2017.
The six texts were poems and narratives which used fragments and verses from the book as a starting point for new works.
Photos by Roger Graham
