Newyddion | News

Y gwanwyn / Y haf
Spring / Summer 2019

 

Bydd Angharad Davies yn mynd â’i hymholiadau sain a wnaethpwyd yma yn y Capel i Café Oto yn Llundain fel rhan o’r preswyliad sydd ganddi ar y gweill yno, 22/23/24 Mawrth eleni.


‘Mae acwsteg y Capel yn anhygoel. Pan fydda i’n chwarae rwy’n teimlo fel pe bawn i ar goll mewn pistyll o sŵn. Yn ystod yr haf diwethaf, eisteddwn mewn distawrwydd yn ceisio ymdoddi i’r gofod. Dw i wedi gwahodd 4 artist i ymateb i’m hymholiadau sain gyda’r syniad o ddod â gofod arall i Café Oto.


Dw i wedi bod yn edrych ar yr agos, y cyfarwydd, yr annwyl, y gadawedig, yr araf, y lleol, yr ailgysylltu, yr absennol, y bach, y tawel, yr ymgorfforiad, y symlaf, yr hiraf a’r cynaliadwy.’ Angharad Davies


Yn bencampwraig fyrfyfyr, mae Angharad wedi cronni corff sylweddol o waith ym meysydd cyfansoddi a pherfformio. Mae ei hymagwedd at sain yn cynnwys gwrando’n astud ac arbrofi y tu hwnt i gyfyngiadau sonig ei hofferyn, ei hyfforddiant clasurol a disgwyliadau o ran perfformio.


Un o dri yw preswyliad Angharad yn OTO ar gyfer artistiaid/grwpiau o’r DU sydd wedi cyrraedd man hanfodol yn eu datblygiad creadigol, diolch i gefnogaeth gan Sefydliad Elusennol Jerwood.

 

Angharad Davies will take her sound enquiries here at y capel to Cafe Oto, London, as part of her upcoming Residency there this March 22nd/23rd/24th.


‘The Capel acoustic is phenomenal. When I play I feel as if I’m lost in a waterfall of sound. This summer I sat in silence trying to become the space. I’ve invited 4 artists to respond to my sound enquiries with the idea of bringing another space into Cafe Oto.


I’ve been exploring the close; the familiar; the dear; the abandoned; the slow; the local; the reconnect; the absent; the small; the quiet; the embodiment; the simplest; the longest; the sustainable.’ Angharad Davies.


A phenomenal improviser, Angharad has amassed a considerable body of work within the fields of composition and performance. Her approach to sound involves attentive listening and exploring beyond the sonic confines of her instrument, her classical training and performance expectation.


Angharad’s residency is one of three at OTO for UK-based artists/groups at a vital point in their creative development, thanks to the support of Jerwood Charitable Foundation.

 

 

Cyffro mawr i Gapel y Graig yw croesawu Sara Rhoslyn fel Artist Preswyl. 

Capel y Graig is excited to welcome Sara Rhoslyn as Artist in Residence.

Sara will spend time exploring her concept of ‘Folk Text’.

Bydd Sara’n treulio amser yn edrych ar ei chysyniad o ‘Destun y Werin’.

‘Testun y Werin yw testun pobl gyffredin unrhyw wlad sy’n adlewyrchu eu materion diwylliannol mewn ffordd nad yw’n aml yn cael ei derbyn na’i datgelu.
Dw i’n ei weld fel carreg naid i gyrraedd fy mhotensial; nid rhywbeth i gymryd lle gwaith caled ac ymdrech mohono, mae’n sianel mynegiant ar gyfer safon is. Dw i angen rhywbeth o’r fath er mwyn gwireddu fy nodau a bwriadau; hebddo dw i wedi fy mharlysu ag ofn ac ôl-fflachiau o brofiadau gwael. Mae’r term yn gadael i iaith gael ei hysgrifennu heb ofn y caiff ei chywiro. Mae’n creu cymuned lle gall alltudion cymdeithas fynegi meddyliau, syniadau a safbwyntiau heb ofni cael eu barnu neu eu bygwth. Mae Testun y Werin yn derbyn eu hiaith ysgrifenedig fel y mae gan gynnig adfywiad iddynt.’ Sara Rhoslyn.

‘Folk Text is the text of the common people of a nation, reflecting their cultural issues, in a method that is rarely accepted or exposed.
I see it as a stepping-stone to reach my potential; it is not a replacement for hard work and effort, it is an outlet of expression for a lower standard. I need such a thing to exist in order to make my aims and intentions possible, without it I am paralyzed with fear and flashbacks of bad experiences. The term allows for language to be written without fear of correction. It brings into existence a community where society’s outcasts can express thoughts, ideas and opinions without fear of judgment or intimidation. Folk Text accepts their written language as it is and offers them a new lease of life.’ Sara Rhoslyn.

This Residency was initiated in dialogue with Culture Colony’s Interventions at MOMO Machynlleth, a 3 month project by Pete Telfer.

Sbardunwyd y Preswyliad yma mewn deialog gydag Ymyriadau’r Wladfa Newydd ym MOMA Machynlleth, prosiect 3 mis gan Pete Telfer.

 

Cyffro mawr i Gapel y Graig yw croesawu Rabab Ghazoul fel Artist Preswyl.

‘Artist gweledol ydw i sydd â diddordeb mewn edrych ar ein trafodaethau mewn cysylltiad â’r gwleidyddol.
Dw i’n gweithio mewn gwahanol gyfryngau a phrosesau gan ogwyddo’n aml i’r perfformiadol neu’r sgyrsiol. Dw i’n tynnu’n drwm ar destun – hapgael, ysgrifenedig, y ceir hyd iddo mewn gwahanol ffynonellau neu a wahoddir. Dw i’n ymddiddori yn y mân wahaniaethau rhwng ymlyniad preifat a chyhoeddus – perthynas fframweithiau (gwleidyddol) ehangach â’r personol a’r beunyddiol.

Fe’m ganed ym Mosul, Irac. Dw i’n byw ac yn gweithio yng Nghaerdydd er 1993.’ Rabab Ghazoul

‘I’m a visual artist interested in exploring our negotiations of the political.
I work with different media and different processes, often with a slant on the performative or the conversational. I draw heavily on text – found, written, sourced or invited. I’m interested in the nuance of private and public affiliation; the relationship of wider (political) frameworks upon the personal, and the daily. I’m interested in the nuance of private and public affiliation; the relationship of wider (political) frameworks upon the personal, and the daily.

I was born in Mosul, Iraq. I’ve lived and worked in Cardiff, in Wales, since 1993.’ Rabab Ghazoul

This Residency was initiated in dialogue with Culture Colony’s Interventions at MOMO Machynlleth, a 3 month project by Pete Telfer.

Sbardunwyd y Preswyliad yma mewn deialog gydag Ymyriadau’r Wladfa Newydd ym MOMA Machynlleth, prosiect 3 mis gan Pete Telfer.

 

Capel y Graig yn falch iawn i groesawu Neither Here Nor There, prosiect gan Jo Fong a Sonia Hughes

Eddie Ladd a Sara McGauhey fydd yn arwain y perfformiadau yn Gymraeg. Performance in Welsh by Eddie Ladd and Sara McGauhey.

Neither Here Nor There is created, hosted and performed by artists Jo Fong and Sonia Hughes. Sara McGaughey and Eddie Ladd are joining and will be presenting the Welsh Language performance here at Capel y Graig.

Mae Heb Fod Fan Hyn na Man Draw wedi’i chreu, ei chyflwyno a’i pherfformio gan yr artistiaid Jo Fong a Sonia Hughes. Bydd Sara McGaughey ac Eddie Ladd yn ymuno i gyflwyno’r perfformiad Cymraeg yma yng Nghapel y Graig.

Mae Jo a Sonia yn codi cwestiynau mewn ffordd dringar ond drawiadol am le; lle’r ydyn ni’n byw, o le rydyn ni’n dod, o le mae ein tadau’n dod… rydyn ni’n sôn am broblemau enfawr, annirnad y byd a hefyd am ein cartref, ein cymdogion, ffensys ein gerddi. Mae’r perfformwyr yn cynnig lle i gynulleidfa o 24 ar y tro gan hybu’r theatr agosatoch a geir o wrando ar un person. Yn anochel mae’r naratif yn newid o sioe i sioe. Mae eiliadau Jo a Sonia yn ffrwyth byrfyfyrio mewn ymateb i ychydig gwestiynau llywio allweddol. Maent yn gosod y rheolau ac rydyn ni, y gynulleidfa, yn chwarae’r gêm. Mae’n swnio’n syml ond fel y sonia’r cyflwynwyr ar ddechrau eu sioe, “Mae cymhlethdod yn cymryd amser.”

Mae’r amseriad i’w weld yn iawn; mae’r DU wedi tynnu anadl dwfn ar y cyd ac mae’r anhysbys ac ansicrwydd i’w teimlo. Mae’r darn yn gweithredu fel gwrthwenwyn i’r diwylliant cyfryngau cymdeithasol ac iPhone a’i bryfocio pytiog am Brexit. Mae’r syniad o arafu a chymryd amser i’w gweld yn bwysicach nag erioed ac mae gwrando wedi dod yn gelfyddyd.

Cynhwysiant yw’r sbardun yn y gwaith hwn. Mae’r sioe yn ymwneud â phawb a sut mae pawb yn gweld ei gilydd. Mae’n cymylu ffiniau hunaniaeth a hil ac mae yna le ar gyfer gwahaniaeth.
Ceir elfen o brotest yn y darn ond hefyd gofal, meithrin, empathi. Mae’n gwneud i rywun deimlo’n wylaidd, mae’n hollgwmpasog ac yn hollol hardd.

Comisiynwyd Neither Here Nor There [Heb Fod Fan Hyn na Man Draw] gan Chapter a LAUK Diverse Actions, menter sy’n hyrwyddo uchelgais diwylliannol amrywiol, rhagoriaeth a thalent yn
Live Art. Mae Diverse Actions yn adeiladu ar rôl hollbwysig Live Art fel ymarfer arloesi artistig a lle i fynegi syniadau cymhleth o hunaniaeth ddiwylliannol. Cyflwynwyd Neither Here Nor There yn ddiweddar fel rhan o Ŵyl Chinese Arts Now 2019


Jo and Sonia propose questions in a delicate but impactful way about place; where we live, where are we from, where our dads are from…we talk about the massive unfathomable problems of the world and equally our home, our neighbours, our garden fences. The performers host 24 audience members at a time and encourage the intimate theatre of hearing one person. The narrative inevitably changes from show to show. Jo and Sonia’s moments are improvised over a few key steering questions. They lay out the rules and as an ensemble with the audience, we play the game. It sounds simple but as the hosts mention right at the beginning of their show .“Complexity takes time”.

The timing seems right; the UK has taken in a mutual inhale of breath and the unknown and uncertainty is tangible. The piece acts as an antidote to the short, sharp brexit banter social media iPhone culture. The idea of slowing down, taking time seems more important than ever and listening has become a form.

Inclusivity is the driving force in this work. The show is about everyone and how everyone perceives one another, it blurs the boundaries of identity, race and there is space for difference.
There is an element of protest in the piece but also a care, a nurture, an empathy. It’s humbling, all encompassing and quite beautiful.

Neither Here Nor There is commissioned by Chapter and LAUK Diverse Actions, an initiative which champions culturally diverse ambition, excellence and talent in Live Art. Diverse Actions
builds on Live Art’s vital role as a practice of artistic innovation and a space to express complex ideas of cultural identity. Neither Here Nor There was recently presented as part of Chinese Arts
Now Festival 2019.

 

Capel y Graig is excited to welcome matthewsANDallen  as Artist in Residence

Cyffro mawr i Gapel y Graig yw croesawu matthewsANDallen fel Artist Preswyl.

matthewsANDallen practice explores the interrelation between analogue and digital technologies and the discourses that emerge when our relationship with the materiality of the digital world [dys]functions. The life span of digital materialities is relatively short and as such our understanding of these objects is in a constant state of flux from functionality to nostalgia. Technology promises seamless communication and streaming; however, the glitch phenomenon exposes its fallibility and generates an aporetic space of potentiality. The existentialist’s search for meaning through contemporary digital phenomena generates a poignant resonance with Capel y Graig’s former incarnation as a place of worship. The contextual placement of digital objects within matthews AND allen’s practice considers the discourse on these discarded ideologies.

Mae gwaith matthewsANDallen yn edrych ar y gydberthynas rhwng technolegau analog a digidol a’r trafodaethau sy’n dod i’r fei pan fydd ein perthynas â materoldeb y byd digidol yn [peidio â] gweithredu. Mae hyd einioes materoldebau digidol yn gymharol fyr ac felly mae ein dealltwriaeth o’r gwrthrychau hyn yn newid o hyd o ymarferoldeb i hiraeth. Mae technoleg yn addo cyfathrebu a ffrydio di-dor; fodd bynnag, mae’r ffaith bod namau’n digwydd yn amlygu ei ffaeledigrwydd gan esgor ar ofod dichonoldeb amheus. Mae cais y dirfodwr am ystyr drwy ffenomenau digidol cyfoes yn peri atgof hiraethus o ymgnawdoliad blaenorol Capel y Graig fel addoldy. Mae lleoli cyd-destunol gwrthrychau digidol yng ngwaith matthewsAND allen yn ystyried y drafodaeth ar yr hen ideolegau hyn.