David Haines

Born 1966 in London, UK. Lives and works in the Blue Mountains, NSW, Australia.

David Haines employs photography, sound, video, responsive installations and scent in his far-reaching practice. Haines has a long standing interest in the intersection of hallucination and landscape. He recently completed his Phd on the undercelebrated possibilities of aroma in contemporary art. Selected individual exhibitions include: Cosmic Vapour, BREENSPACE, Sydney (2010), Illume, Campbelltown Arts Centre, Campbelltown (2009); Tokyo Floating Worlds, Plimsoll Gallery, Hobart, Tasmania Australia (2007), Who’s afraid of the big bad wolf, Te Tui Centre for the Arts, New Zealand (2007), The irrational, Scott Donovan Gallery Sydney (2005), Contemporary Projects VI, Contemporary Art Centre South Australia (2005), Adelaide Biennial of Australian Art (2004); (the world may be) fantastic, Biennale of Sydney, Museum of Contemporary Art, Sydney (2002). David’s live solo audio performances include, SCARPA Auckland NZ (2004); Tonic, NYC, USA 2004; Sigmaeditions European Tours (1999 & 2000) including: Gebaude9 Koln, Germany; Klub Dodo Rotterdam, Holland.

David Haines & Joyce Hinterding also collaborate on large-scale art works that explore sensation and immersion across a variety of experimental, traditional and digital media. Their work, The Outlands invites visitors to conduct their own voyage through an immersive digital world of forests and futuristic interiors for which they won the Ann Landa New Media Art Award at the Art Gallery of New South Wales, Sydney (2011). They have exhibited extensively in Australia and internationally. In 2009 their work, Earth Star received an Award of Distinction from Prix Ars Electronica, Linz Austria in the Hybrid Art category. Selected exhibitions include Sonic Spheres: the Tarrawarra Biennial 2012, Tarrawarra Museum of Art, Victoria; Light from Light, Sunvalley radio, National Library of China Beijing, China (2011); Turn and Widen, The 5th Seoul International Media Art Biennale, Seoul Korea (2008); Superlight, The 2nd Biennial 01SJ Art on the edge, San Jose Museum Art, California, USA, (2008); (in)visible sounds, Montevideo, The Dutch Institute for Time-based Art, Netherlands (2007); V2 Zone, Act interact, The Museum of Contemporary Art Taipei, Taiwan (2007); ReSearch, The Sendai MediaTech in Sendai, Japan (2006), Waves (Electromagnetic Waves as medium for Art), Riga, Latvia (2006), and they were the Australian National representatives at the 26th Biennial de Sao Paulo, Brazil (2004).

Artist's CV

Sound Full, Dunedin Public Art Gallery, New Zealand; Wellington City Gallery, New Zealand, curated by Caleb Kelly and Aaron Kreisler
Living in the Ruins of the Twentieth Century, UTS Gallery, Sydney, curated by Adam Jasper and Holly Williams
Hollow in the Paper, CAST, Hobart, Tasmania, curated by Bec Stevens
A disassembled Jasmine, Sydney College of the Arts, University of Sydney
Konica Minolta Redlands Prize, National Art School Gallery, Sydney

Sonic Spheres: The Tarrawarra Biennial of Art, Tarrawarra Museum of Art, Victoria
Principle Matter, Contemporary Art Spaces (CAST), Tasmania
The Blocks, with Joyce Hinterding, Pier 2/3, commissioned by Studio Toogood, UK and Penfolds, Australia

Anne Landa Award, Art Gallery of New South Wales, Sydney
Monocline: white cube, BREENSPACE, Sydney

7th Aotera Digital Arts, Symposium, -Ozinol - Sargeants Gallery Whanganui, New Zealand
The Gift, Parramatta artists studio’s Parramatta
Cosmic Vapour, BREENSPACE, Sydney
Light from Light, MAAP, Shanghai Library, China and State Library of Queensland, QLD
Green, Plimsol Gallery, Hobart
ICAN Covers, ICAN Institue for Contemporary Art, Newtown, Sydney
OCTOPUS 10: How We Know That The Dead Return, Gertrude Contemporary Art Spaces , Melbourne,
Group Show, Beta Decay, Breenspace Sydney

Illume, Campbelltown Arts Centre, Campbelltown
Festival Ars Electronica, OK Center for Contemporary Art, Linz
The Dwelling, Australian Centre for Contemporary Art, Melbourne
ENERGY. Scientific and artistic, utopian and critical visions of future terrestrial energy, Black Canyon Earth Field  ART+COMMUNICATION XI 2009 International festival for new media culture  Riga, Latvia.
Electromagnetic Composition for Building Plants and Stars, Adelaide Array, Royal Institute of Australia, Sydney
Prix Ars Electronica, EarthStar receives Award of Distinction in the Hybrid Art category, Exhibited in Cyber Arts 09 -OK Centrum, Linz Austria.
Royal Institute of Australia, Electromagnetic Composition for Building, Plants and Stars (Adelaide Array)  Adelaide SA
The Dwelling, House 2: The Great Artesian Basin Pennsylvania, Australian Centre for Contemporary Art, Melbourne.

Telepathy, Performance Space, Sydney
The Premier of Queensland’s National New Media Art Award, GOMA Gallery of Modern Art, Queensland
Current 08 : Sculpture Projects in the River City, collaborative work from Joyce Hinterding and David Haines, Parramatta City Council, Parramatta
HEADLAND, ICAN Institute for Contemporary Art, Newtown
Electromagnetique Composition for Building Plants and Stars, BREENSPACE, Sydney
Turn and Widen, The 5th Seoul International Media Art Biennale, Seoul, Korea
Modern Ruin, GOMA Gallery of Modern Art Queensland, Brisbane
IASKA, International Art Space Kellerberrin Australia, Fremantle, WA
Waves – The Art of the Electromagnetic Society, PHOENIX Halle Dortmund, Germany
Superlight, The 2nd Biennale 01SJ Art on the Edge, San Jose Museum Art, California, USA

The Visitors – Aliens and UFOs in Contemporary Art, Penrith Regional Gallery & Lewers Bequest, Sydney
Tokyo-Floating Worlds, Plimsoll Gallery, Hobart, Tasmania, Australia
(in)visible sounds, Montevideo, The Dutch Institute for Time-based Art, Netherlands
V2 Zone, Act interact, The Museum of Contemporary Art Taipei, Taiwan
Who’s Afraid of the Big Bad Wolf, Te Tui Centre for the Arts, New Zealand

Re:search – art collaboration between Australia and Japan, Sendai Mediatheque, Sendai, Japan
Two works for Wilhelm Reich, OrupDesert 1954-55 after field study number 2, Perth Institute of Contemporary Art, WA
Waves, 8th International Festival for New Media Culture, Art & Communication, Riga, Latvia
Under the Radar, FACT, Liverpool, England     

The Butterfly Effect, The Museum of Sydney
The irrational, Scott Donovan Gallery, Sydney
Hollow earth theory revived: Field study 1& 2, 24hr Art, Darwin, NT
Day & Night, Contemporary Art Centre South Australia
Vanishing Point, Experimenta, Artspace, Sydney

Image Smugglers in a Free Territory, 6th Bienal de Sao Paulo, Sao Paulo, Brazil
Adelaide Biennial of Australian Art, Adelaide, South Australia
Lets talk about six, Dunedin Public Art Gallery, New Zealand 

The Liquid Sea, Museum of Contemporary Art, Sydney
Ten Days on the Island Festival, CAST, Hobart
Remembrance + The Moving Image: Persistence of Vision, ACMI Australian Centre for the Moving Image, Melbourne

Deep Space – Sensation & Immersion, Australian Centre for the Moving Image, Federation Square, Melbourne & MAAP - Multimedia Art Asia Pacific, Bejing 
st@rt up: new interactive media, Museum of New Zealand, Te Papa Tongarewa
The World (May Be) Fantastic, 13th Sydney Biennale of Sydney, Sydney
ARCO, Madrid, Spain
Problems In Paradise, Scott Donavan Gallery, Sydney & Liquid Architecture, Melbourne

Space Odysseys, Sensation & Immersion, Art Gallery of NSW, Sydney

The Levitation Grounds, Artspace, Sydney
Pivot v: about Photography, Carnegie Gallery, Hobart, TAS
Atomic, The Blue Oyster Gallery, Dunedin, New Zealand

Eccentric Orbit – Australian Video Art of the Nineties, Museum of Contemporary Art, Sydney
Haines, Morley, Bugden & Tilly, Rm 3, Auckland, New Zealand
Re-Worked, The Film Centre, Wellington, New Zealand
Oblique, Otira, New Zealand

Avatar, The Physics Room, Christchurch, New Zealand
Music’s Dead Return, Manning River Regional Art Gallery, NSW & Side On Gallery, Sydney

Medievalism – Musical & Non Musical Kingdoms, Artspace, Sydney
Evil Art, Side On Gallery, Sydney (group exhibition)
Ghostship Low, The Physics Room, Christchurch, New Zealand

Palimpsest, Artspace Sydney; RMIT, Melbourne & Canberra Contemporary Artspace, Canberra
Silver Forest Cemetery & Words become stars, Z.A Moca Shinjuku, Tokyo

Sound In Space: Australian Sound Art, Screen Sound Program, MCA, Sydney

Universal Lever - SOUNDWATCH94, Artspace, Auckland, New Zealand

VIDEOPOSITIVE93, Tate Gallery, Liverpool, England
The Black Art of the Family, Selenium Gallery, Sydney

Museum of Fire - A Video Trilogy by David Haines, Chris Caines and John Conomos
Australian Centre for Photography, Sydney; Institute Of Modern Art, Brisbane; 6th Australian Video Festival, Sydney; Experimenta92, Melbourne; University Of Newcastle, Australia; New Visions – Glasgow; Videofest92 Berlin, selected for touring to Argentina and Italy by Videofest92 committee; SCANNERS OF MEMORY, Videopositive93, Liverpool, England

2013  Niteworks, Bundanon Siteworks, 12 October 2013
2010  Monocline, with Joyce Hinterding, Super Deluxe at Artspace, 17th Biennale of Sydney, Sydney
2008  American Modern Variations, La Campana, Dual Plover, Sydney
          Untitled, Gift Project, Blacktown Arts Centre, Blacktown, NSW
2007  American Modern, The Winecellar, Auckland, New Zealand
2006  Impermanent Audio, solo performance, Pelt Gallery, Sydney
2005  Don’t look now, solo performance, Mori Gallery, Sydney
          Terminus Projects launch, Sunvalley performance of untitled composition from dammed revolutions
2004  Tonic, solo performance, NYC, USA
          SCARPA, solo performance, Auckland New Zealand
          None Gallery, solo performance, Dunedin, New Zealand
2001   Live performance by Sun Valley, Waveform Computer Music Conference, UWS, Sydney
          Voices of the Living Dead, sound in association with the exhibition Faces of the Living Dead by Martyn Jolly, Scott Donovan Gallery,   Sydney
2000  What is Music Festival Melbourne 2000, solo performance from Sigma 009 Emo
          What is Music Festival Sydney 2000, opening night solo performance, Imperial Slacks, Sydney
          Impermanent Audio, solo performance from Sigma 009 Emo, Sigma Editions, European Tour, October  – November 2000
          Live performances at the following venues – Galerie Schniederei Koln,Germany; Gebaude9, Koln, Germany; Klub Dodo Rotterdam, Holland; VHS: Zentrum am Schloss, Saarbrucken, Germany; Batofar, Paris, France; Cave12, Geneva, Switzerland; Brancaleone, Rome, Italy; Cox 18, Milan, Italy
1999   Sigma editions, European tour, June – July 1999
          Live performances at the following venues – Gloria, Helsinki, Finland; Realkool gymnasium, Tallin, Estonia; Ost club, Frankfurt, Germany; Unter-Saarbrucken, Germany; Extrapool-Imejden, Holland; Club Zwei- Munich, Rhiz, Vienna, Austria; Geubadu 9, Koln, Germany; WMF, Berlin, Germany

2008    Joyce Hinterding & David Haines, The Immaterial’s – molecules, language, vibration, Current 08 : Sculpture Projects in the River City, Parramatta City Council and Parramatta Artists Studio, Sydney, 2008,
2001    David Haines, Emo – d.haines, Sigma 009, Sigma Editions, New York & London, 2001, audio CD
2000    Maatsuyker, Neuss Rec, audio CD
1999    Blither, d.haines Sigma 004, Sigma Editions, New York & London, 1999, audio CD
1997    Experiments for feedback and multiple pianos, Helmholtz/Magnetic Media, audio CD
1996    Eternal Return, Helmholtz/Magnetic Media, audio CD
           Medium/Slow/Fast, Helmholtz/Magnetic Media, audio CD

2012 Interview with David Haines and Joyce Hinterding, 'Orgasm', Das Platforms, Das Cinema, 20 June 2012, <http://www.dasplatforms.com/das_cinema/haynes-hinterding-orgasm/>
Robert Nelson, 'Sonic Music to our Ears', The Age, 10 October 2012
Tarrawarra Biennial 2012: Sonic Spheres, Tarrawarra Museum of Art, Victoria 2012
The Press, produced for The Blocks by Studio Toogood, London and Penfolds, 2012
2008  Nicholas Chambers, ‘Earth Star’, The Premier of Queensland’s National New Media Art Award,  GOMA, Brisbane, QLD, 2008
Andrew Murphie, Escaping Influence Ritual, Telepathy, Performance Space, Sydney, 2008
2004  Ann Finnegan, Day and Night, CACSA, 2005
Nicolas Tsoutas, ‘Purple Rain’, The 26th Bienal de Sao Paulo, National Representations, Brazil, 004, pp84–87
‘Born to be Wild, Silver Hill’, Adelaide Biennial of Australian Art, 2004
Israel, Glenis, Senior Artwise 2: Visual Arts 11-12, John Wiley and Sons, Milton, 2003

Conversations with Australian Artists Volume 1: Unseen Forces, Art Gallery of NSW, Sydney, featuring interviews with John Olsen, Joyce Hinterding, David Haines, Ginger Riley Munduwalawala & Fiona Hall

, 2003 (video)
Ross Gibson, 'Undertow1999’, Remembrance + the moving image, ACMI, 2003
2002  Ann Finnegan, ‘17 Century’, 13th Sydney Biennale, 2002

2000  Victoria Lynn, Space Odysseys, AGNSW & ACMI, 2001
Ann Finnegan, The Levitation Grounds, Artspace, 2000
1999  Margaret Marsh, Michelle Watts and Craig Malyon, ‘Chapter 17: Tableau Vivant: Video Art’, A.R.T. 2: Practice, Oxford University Press, Melbourne, 1999, p.252
1997  Mark Jackson, ‘Nemein’, Medievalism...Musical/Non Musical Kingdoms, Artspace, 1997

2012  Peter Entwisle, 'Modern Art has come so far', Otago Daily Times, 17 September 2012
2010  Rosemary Sorensen, Let there be light, in the shade of a library, The Australian, October 18, 2010
2009  Lizzie Muller, ‘Smelling the sun, breathing a river, new works by Joyce Hinterding & David Haines, RealTime, Issue 89, Feb–March 2009, p27
2007  Wendy Haslem, ‘Side by side: Australian & Japanese media art’, RealTime, Issue 77 Feb–March 2007
Eve Sullivan, Contemporary Magazine, Issue 91, 2007
2006  Ashley Rawlings, ‘Artists go global in Sendai’, The Japan Times, 14 December 2006
Linda Carroli, ‘Joyce Hinterding and David Haines and The New Media Artists Camp, Oenpelli, Arnhem Land, 12.20S Latitude, 133.04E Longitude’, Photofile, No. 76, Summer 2006, p46
2005  Phillip Auslander, ‘David Haines and Joyce Hinterding’, ArtForum International, October 2005
Adam Geczy, ‘Natural Disasters in Sao Paulo’, ArtMonthly, No. 177, March 2005, p.43
Ashley Crawford, ‘Worlds apart in an ancient land’, The Age, 20 August 2005
Victoria Lynn, ‘The art of the screen in Australia’, Art & Australia, Vol. 40, No. 4, Winter, pp.584–89
2001  Benjamin Genocchio, ‘Mind altering multimedia mix’, The Australian, 24 August 2001
Bruce James, ‘Take a walk on the quiet side of techno-art’, The Sydney Morning Herald, 12 September 2001, p16
Adam Geczy, ‘Space odyssey: light visions’, RealTime, Issue 45, October – November
Jim Haynes, D.Haines: Emo, Adventures in Modern Music, Wire Magazine, Issue 211, September 2001, United Kingdom
2000  Douglas Kahn and Fran Dyson, ‘The Levitation Grounds’, Eyeline, Issue 43, Spring 2000
Charles Green, ‘Review of The Levitation Grounds’, Art and Text, No. 70, August – October 2000
1999  Peter Hill, ‘Vision Shines in Lighthouse’, The Australian, Friday April 30 1999
Sean Kelly, ‘art.business@the Lighthouse’, Art Monthly, No. 119, May 1999, p.20
Ed Pinset, The Sound Projector, No. 6, 1999, United Kingdom
Nicholas Gebhardt, ‘A Minimal Turn’, Broadsheet, Vol. 28, Winter 1999
Diana Klaosen, ‘A Meta World of Watchfulness’, RealTime, June – July 1999
1998  Ann Finnegan, ‘Mortuar – James Joyce, Lacan and the work of David Haines’, Abaddon, January 1998