Nathan Jones at Club Big, Home theatre, Manchester

Club Big: Feb 10 2017

At the centre of John Hyatt: Rock Art is Club Big, a fully kitted-out pop-up music club. John Hyatt is your magical master of ceremonies, introducing the best breakthrough live music and performance every Friday from 18:00 – 21:00. Hosting bands, soloists, the supernatural and the dramatic and featuring the Club Big House Band (provided by Cacophany Arkestra), our host Anastasia, and fully licensed bar. All events are free to attend.

Our line-up for Friday Feb 10 is:

Danielle Swindells: The Ashleigh Hotel

A short documentary filmed inside of The Ashleigh Hotel, once a seaside guesthouse hosting “bucket and spade” holiday-goers. It closed its doors to the public in 1982 to become a House of Multiple Occupation; now a permanent home to a group of Blackpool residents estranged from their social networks. The site was visited alone by the filmmaker over a period of five weeks and is a response to the exilic position of its residents.

Nathan Jones

Nathan Jones performs from his traumatictime series, based on two statements by Rosi Braidotti: “language is compressing, cracking under the weight of the anthropocene” and “post truth is the white male body cracking under the pressure of its own lies”. What are these cracks and what leaks out from them? poems.

Nathan is a poet and artist based in Liverpool. He teaches art writing at Liverpool John Moores University and is REID funded cross disciplinary scholar at Royal Holloway University of London. His work has recently featured on programmes at Foundation for Art and Creative Technology (FACT) in Liverpool, Transmediale in Berlin and Parasol in London. His essay/poetry pamphlet A Cloud of Birds Also Formlessly Flocking on Top of a Lake is published by Dock Road Press, and his journalism and poetry can be found on new media blog Furtherfield and in Poetry Wales, Datableed and Art Monthly.

Ruby Tingle

Though working predominately in collage, Ruby Tingle’s practice expands into music and performance. She deconstructs and reworks familiar images, objects, and sounds to assemble ambiguous and extraordinary forms. Ruby’s practice is grounded in natural history, and her practice is littered with references to creatures that share the globe. Her unique appearance characterises her work and offers her an opportunity to place herself within her work. Her works deal with a private symbolism and employ self-portraiture as a tool to exist vicariously in between states. These transformations allow Ruby to create an alternate folklore and natural history where boundaries between human and animal are obscured. Performance is used as a platform for the large-scale translation of these ideas, often utilising life drawing as an interactive element and theme. Ruby uses her body as a living portrait, forcing her interaction with the three-dimensional collage installations she creates. Music, often comprised of sonic collage pieces from original recorded instrumentation and sound samples, operate alongside these visual works and can support them audibly. The ‘cutting up’ and manipulation of personal conceptual songs form new responsive sound pieces to score live works, whilst physical releases act as art object editions.

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