Colin Fallows


Liverpool John Moores University,
Liverpool Art School
68 Hope Street, Liverpool L1 9EB
Tel: +44 151 231 5142
Fax: +44 151 231 5096

Colin Fallows is Reader in Audio and Visual Arts at Liverpool John Moores University where his research has explored crossovers between sound and the visual arts as an artist, lecturer, curator and archivist. He has produced work for live ensemble performance, recordings, exhibition and radio.

He researched and compiled Dada For Now (Ark, 1985) - a collection of Futurist and Dada soundworks and produced the design for the soundtrack album Lipstick Traces (Rough Trade Records, 1993). He has been involved as a consultant to the Liverpool Institute for Performing Arts (LIPA); and researched and presented the radio programme Desert Island Dada aired as part of 'Hearing Is Believing', Video Positive Biennale 1995. He has links with a number of the leading new Russian artists and was instrumental in the organisation of Pop Mekhanica's first visit to the UK, resulting in the large scale multi-media event Perestroika in the Avant Garde (1989). He co-founded the Stuart Sutcliffe Fellowship Trust and is Chair of the committee to support postgraduate research in audio-visual arts. He recently co-edited the book Live From The Vinyl Junkyard: The Ultimate Mix (Liverpool Art School / Bluecoat Gallery, 1998).

A winner of the Bluecoat Live Art Award, 1997, he was commissioned to produce the live ensemble project entitled Space: The Vinyl Frontier (1997). This multi-media event - an audio/visual collage drawing on a rich archive of recorded sound to explore the theme of Space - was performed as part of the 'Mixing It!' and 'Video Positive 97 - Escaping Gravity' festivals. Commissioned by the Centre for Contemporary Arts in Glasgow as part of the 'Waves In Particles Out' festival, he devised and conducted REALTIME 2.0 (1997). REALTIME 2.0 contained twelve pieces arranged as a sixty minute loop. This live event brought together a diverse group of international performers (from England, France, Austria and Japan) in an audio-visual collage that mixed past and present sounds in realtime.

Recent recordings have developed the idea of sonic strata by layering sounds from across time. This series of experimental recordings is ongoing and developing with the addition of further sonic layers from across the twentieth century. Recent exhibitions include Ear as Eye, Los Angeles Contemporary Exhibitions, California (1997); Nonsequitur Gallery, Albuquerque, New Mexico (1997); EarArt Sound Exhibition, 1078 Gallery, Chico, California (1997), and Intermedia 98 Festival, Cork, Ireland and in 'Collage JukeBox', Musiques en Scenes, Musee d'Art Contemporain de Lyon, France (1999). Recent radio work includes Zang Dada Sh'Boom for Kunstradio, (1999).

Recent curatorial work includes Drahtlose Phantasie, at 'Audio Art - Kunst in der Stadt" festival, Bregenz, Austria (1998, co-curated with Wolfgang Fetz, Director Bregenzer Kunstverein and Heidi Grundmann, Producer ORF Kunstradio, Vienna); REV, a programme of live international electronic music events at the ninth International Symposium on Electronic Art, Liverpool (1998); the CD ROM Evolution 2.0, an international anthology of Generative Arts and the audio CD Hope, a collection of one-minute soundworks by 68 international sound artists from 19 countries. The publication of these projects coincided with his role as Director of the ninth International Symposium on Electronic Arts, ISEA98 Revolution held in Liverpool and Manchester, UK, September, 1998.

Sendungen im Kunstradio: 

18. 02. 1999: "ZANG DADA SH'BOOM"
16. 09. 2012: "CUT-UPs"
23. 09. 2012: Kunstradio Classics 2 – Aus dem Archiv 2012 - part 13
1. 12. 2012: „Colourfield For Strings”