Apr
15
7:00 PM19:00

Dorian Nuskind-Oder and Simon Grenier-Poirier: SPEED GLUE

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Speed Glue is a performance created in collaboration with two professional table tennis players. Rather than playing to win points and end the game as quickly as possible, the players work together to keep the ball going for as long as they can. By resisting the competitive structure of the game, a range of rhythmic and choreographic possibilities emerges, as well as different relationships to duration and effort.

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Apr
15
4:00 PM16:00

Fern Thomas: Spring Tides Archipelago

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Spring Tides Archipelago is a land that exists in myth, folkloric research, scientific fact, observed phenomena and the cult of the moon.

It may be a land only inhabited by women.

Shared through spoken word, sound and perhaps song by artist daydreamer Fern Thomas, Spring Tides Archipelago maps the worlds conjured through daydreaming in the moments between mothering. It draws on the encounters with the faces of nameless women found in the photographic archives of St Fagans Museum. It borders the realm of amateur shamanic journeying. It imagines into places that may one day exist. It is ultimately anchored by the need to hang out the next load of washing.

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Apr
15
1:00 PM13:00

Mike Pearson: If my memory serves me well...

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2018 marks Mike Pearson’s fifty years of performance making – in Wales and elsewhere – as performer, writer, conceiver, director. In an informal though non-stop improvised spoken durational presentation of 250 minutes, he reflects on fifty projected images from his history, for five minutes per image. In a combination of anecdotes and analects, faint recollections, poignant stories, theoretical musings, surprising revelations, and whispered secrets – now at a stretch of memory. Not as the ramblings of an aged performer, but in celebration of the passage of time and of the diversity of work achieved. And in the hope of great happenings in the future…

Please note: this is a durational work. Your ticket does not guarantee entry at a specific time - capacities are limited and you may have to wait to enter.

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Apr
15
11:00 AM11:00

PLAYING UP - Live Art for kids & adults

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Make clothes out of food, remote control your parents, invent your own form of sports, search for miracles, deconstruct electrical devices, build what-happens-next-machines!

PLAYING UP is an artwork by Sibylle Peters of Theatre of Research, exploring the potential of Live Art to bridge generations and suggest different ways of looking at the world. Drawing on key Live Art themes and seminal works, PLAYING UP takes the form of a game played by adults and kids together.

Children, grown-ups, families and friends are all welcome. Pick a card, follow the instructions, create your own piece of Live Art, and perform it.

"Kids are explorers of the everyday. For them to light a match can be something extraordinary that needs focus and time, and creates an experience. The same is true for everyone who practices Live Art" - Sibylle Peters

www.playingup.thisisliveart.co.uk

Presented in collaboration with the Live Art Development Agency.

PLAYING UP is produced and published by the Live Art Development Agency (LADA, UK), FUNDUS THEATER / Theatre of Research (Germany), Tate Early Years and Family Programme (UK), Best Biennial (Sweden) and Live Art UK, with the support of the Goethe-Institut London.

Recommended for kids aged 6 years and up.

FREE - no ticket required

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Apr
14
8:00 PM20:00

Ultimate Dancer with Robbie Thomson : YAYAYA AYAYAY

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Challenge your perceptions and immerse yourself in a sensory performance that teases your imagination.

A vision of a giant or an alien with a message: Ultimate Dancer and Robbie Thomson bring discoveries from dark places.

Ultra-terrestrial temporary dance proclaiming the historic chant: tnahc cirotsih eht gnimialcorp ecnad yraropmet lairtserret-artlU

YAYAYA AYAYAY begins as a guided journey into a pitch-black space, transforming into a neo-ancient display of natural high-inducing lights, sounds and echoing voices that move in hallucinatory, ritual dances.         

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Apr
14
6:00 PM18:00

Paul Hurley and Shaun Caton: STRANGE NEWES

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‘STRANGE NEWES’ is inspired by 17th century woodcuts in pamphlets of the same name – visioning actualities of monstrosities, miracles, strange births and bizarre wonders. It combines live ritual action with stunning experimental colour shadow play and improvised electronic music and percussion. Reanimating these wonders through the queer shamanoid imaginary, Caton, Hurley and Typesun channel histories of molly houses, depictions of gender transformation, life cycles, and a delirious cavalcade of totemic imagery. Spectators are at liberty to come and go throughout the performance, but may wish to stay to be part of the spectacle.

Please note: this is a durational work. Your ticket does not guarantee entry at a specific time - capacities are limited and you may have to wait to enter.

Image: Shaun Caton and Paul Hurley, performance Arnolfini Bristol. Photograph c. Julius G. Beltrame 2017.

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Apr
14
2:00 PM14:00

Kathryn Ashill: Clocking Off

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What does retirement and free time look like for a retired guide dog?

Clocking Off is a workshop and public parade made in collaboration with retired working dogs from Guide Dogs Cymru. Banners and props will be made in collaboration with the guide dogs and their human owners. The parade will commemorate the working life of the guide dog, mark their service to human health and celebrate the free time associated with retirement.

This project forms part of Ashill’s current research with the Centre for the history of Science and Medicine at the University of Manchester.

In presenting examples of non-human animals who provide wellbeing for human health, the research intends to emphasise and honour the working life of animals, whilst highlighting the potential of interspecies collaboration across the specific fields of contemporary performance, animal therapy and biotherapies.

Biography

Amateur dramatics, theatre flats, stage lighting, public monuments and performance are central to Ashill’s practice. Kathryn aims to pursue the theatricality in the everyday whilst sharing her observations on memoirs, people, history and site. Civic life and duty are explored through interactions with memorial sites, face painting, costume and public events.

 Working both in and out of the gallery, Kathryn often asks others to become participants in her theatrical performances. In these events her own autobiography mingles with those of historical figures as she explores tradition, history, memories and memorials. Ashill describes herself as an ‘art witch’; an accurate term to encapsulate what she does, suggesting embodied knowledges, the complex relationship the world has to women and power and her ability to make the everyday mythical and magical.

www.kathrynashill.com

 

FREE (No Ticket Required)

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Apr
14
to Apr 15

Theatre Replacement: Town Criers

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Sat 14 + Sun 15 Apr, 1pm

In a fixed location, writers type out observations of the world unfolding around them. In Cardiff’s Grange Gardens, a town crier receives these observations, live, via a tablet — a modern day version of the trusty scroll. 

The criers ring their bells and declare these observations to the public. Drawing upon patterns of relaying information that mirror Twitter or Facebook, Town Criers treats everyday considerations as the news. Intimate and minute details are transmitted through the ether and then filtered through the live body in an oratorical sculpture.

Town Criers exists to celebrate voices. Already produced in Burnaby and Whitehorse, Canada as well as Reykjavík and Hrisey, Iceland, the project has allowed Theatre Replacement to find and work with teams of writers and criers who embody something integral to their community. In Whitehorse it was the river running though the northern city, on Hrisey it was the movement of people to and from the tiny island. In Cardiff we have landed in Grangetown, a remarkably vibrant neighbourhood in visible transition, and the focus is on family. For Town Criers Experimentica, a mother will live write to her daughter, a son to his father and a sister to a brother, all of whom will shout out variations on what it is to share blood inside this rapidly evolving community.

www.theatrereplacement.org

FREE (no ticket required)

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Basement Borscht
Apr
13
to Apr 14

Basement Borscht

tactileBOSCH and Blue Honey invite you into the depths of the Angel hotel for ‘Basement Borscht’ a late night immersive smorgasbord of visceral live art, DJs, video, immersive installation and interdisciplinary collaborations.

This is the first in a series of collaborative events in unexpected spaces across Cardiff exploring the social context of Night Culture, creating a unique platform for open experimentation, free expression and high energy forms of art-making.

tactilebosch.co.uk

www.facebook.com/bluehoneynightcafe

 

£5 NB This event is NOT Pay What You Decide

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Apr
13
8:00 PM20:00

Rhodri Davies: Transversal Time

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Co-commissioned by Huddersfield Contemporary Music Festival, Chapter and Counterflows

  • Ryoko Akama (Electronics)
  • Rhodri Davies (Harp)
  • Sarah Hughes (Zither)
  • Sofia Jernberg (Vocals)
  • Pia Palme (Contrabass recorder)
  • Lucy Railton (Cello)
  • Pat Thomas (Piano, electronics)
  • Dafne Vicente-Sandoval (Bassoon)
  • Adam Parkinson (Programming)

PEILOT associate artist Davies has put together an exceptional international line-up to perform his most ambitious creation to date. Transversal Time is inspired by Davies’ childhood spent surrounded by watches and clocks all stating different times (his father and grandfather repaired and sold watches), and takes as its starting point different time systems, including Standard Time, Decimal Time, and Hex Time. The piece draws upon the writings of Francois Jullien, in particular his book In praise of Blandness: Proceeding from Chinese Thought and Aesthetics, exploring the ancient Chinese notion of the richness of a bland sound; a bland meaning; a bland painting; a bland poem.

£12/£10 NB This event is NOT Pay What You Decide

Supported by PRS Foundation's Beyond Borders fund.

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Apr
13
6:30 PM18:30

Freya Dooley & Cinzia Mutigli: BEING SHARON

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A performance about soap operas, expanded outside of the confines of the TV screen. Fiction and reality, you don’t need to choose. A collection of characters, true-to-life, or not. When I am talking about her, I am talking about me: we live alongside these characters, on-screen personas merged with our off-screen selves. Our timeline is marked with theirs. The now, the then, the simultaneous now-and-then.

The soap’s politics are flattened. The soap is responsible to us, to our so-called everyday lives, to everyday people, every day. Perpetual loops and comfortable melodrama. Mundane and spectacular, we’re watching the screen to see who is reflected back.

About Freya Dooley & Cinzia Mutigli

Since 2013, artists Dooley and Mutigli’s collaborative practice has encompassed sound, performance and publication works. Using pop culture references and auto/biographical fictions, they construct characters and embellish themselves. Their work merges humour, gossip, failed aspirations, alter – egos and cultural criticism. Conversation and written communication is central to the way they create and produce their work: they talk with, over and alongside each other. Their recent research mingles the stolen, disputed and reclaimed narratives of public figures in the company of their real or imagined selves.

Freya and Cinzia have recently performed at g39, Cardiff, for Roll Credits, commissioned by Holly Davey for her solo exhibition ‘The Conversation’, 2018; at CAB, Printhaus, Cardiff, 2017; and ‘I love you but…’ at Glynn Vivian Art Gallery, Swansea, 2017. Previous projects also include WORK, at Broadacre House, Newcastle, commissioned by Stabbing Les, 2016 and On Record, an exhibition and events programme for artists working with sound and performance, commissioned by Cardiff Contemporary 2014. 

www.freyadooley.com / www.cinziamutigli.com

www.freyadooleycinziamutigli.com

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Apr
13
8:30 AM08:30

Greg Wohead: Call it a Day

Two couples; one liberal, one conservative. One progressive, one traditional. One faithless, one faithful. 

Call it a Day stems from a real meeting with a traditional Amish couple on a freezing snowy day in January 2009. From a remembered account of one afternoon, an almost musical series of repetitions are set in motion. A strange and kaleidoscopic examination of the possibility and impossibility of understanding one another. 

At Experimentica 2018, Greg will present an open studio work-in-progress: from sunrise to sunset, four performers will repeat Greg’s remembered conversation with an Amish couple on a loop. Throughout the course of the day, the repetitions will morph into new possibilities using a mixture of prepared and improvised material. We expect it to be unwieldy, strange, ridiculous and pointed. 

Call it a Day is produced in partnership with Los Angeles Performance Practice and was initially developed as part of the LAPP residency program with the Center for the Art of Performance at UCLA. Co-commissioned by Theatre in the Mill, South Street and Experimentica. Seed commissioned by Shoreditch Town Hall and developed at and supported by The Yard. Supported using public funding by the National Lottery through Arts Council England with additional funding by the Peggy Ramsay Foundation. 

Please note: this is a durational work. Your ticket does not guarantee entry at a specific time - capacities are limited and you may have to wait to enter.

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Apr
12
8:00 PM20:00

Megan Broadmeadow: SEEK - PRAY - ADVANCE

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An experiential, choral investigation into the sounds of alien voices.

The newly formed ‘Sci- fi’ Choir devise and create immersive experiences using choral voices. The choir do not sing conventional songs. We are part immersive, part theatrical and have can best describe ourselves as a human produced sound design experience. Taking harmony and discordance (aka angelic or alien) as our starting point, the choir’s aims are to create an intergalactic trip for the audience.

The choir is part of a larger project in which artist Megan Broadmeadow has been researching (conventionally and through workshops) the phenomena of alien abduction, with particular interest in the stories of those who’s encounters turn them into leaders of UFO religions.

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Apr
12
6:00 PM18:00

Angus McLean Balbernie: 343 m/s

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“Someone I loved once gave me a box full of darkness.

It took me years to understand that this too, was a gift."

Mary Oliver

If owls have 5 kinds of feathers, and pain travels at 0.61 m/s, then how on earth should we perform ourselves? And what the hell is "coming to your senses"?

Moving from 299700 km/s to 343 m/s is exhausting and not to everyone's taste.

We hope the audience will have a tune they like to play ready on their mobiles. Oclaphobics and pteronophobics are cautiously but warmly welcomed.

Created by Angus Balbernie, Stuart Jackson, and Katy Dymoke, “343 m/s” has been supported by Buzz Cut Festival, iDance and Touchdown Dance.

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Apr
12
to Apr 15

EXPERIMENTICA residency: Paul Eastwood

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OPEN STUDIO

THURSDAY / FRIDAY / SATURDAY & SUNDAY,  1 - 4PM

‘Dyfodiaith’ (future – language) imagines speaking to an unknown future where the Brythonic language has remained alive, evolving throughout the centuries into something strange and unfamiliar. The Brythonic language, collectively a group of ancient Celtic languages, were spoken in Britain before and during the Roman occupation, surviving as Welsh and Cornish.

‘Dyfodiaith’ creatively investigates the cultural context of the Welsh language in relation to minority languages spoken worldwide, bilingualism and common languages, asking: What language will we speak in the future? How will it sound and what will it look like?

During EXPERIMENTICA artist Paul Eastwood, will be undertaking a studio residency and further exploring ‘Dyfodiaith’ as a larger body of work. Be sure to check our Instagram account (@chaptergallery) and our website (www.chapter.org) for updates and to see where his research takes him.

Biography

Eastwood (b. 1985, Wrexham) obtained a postgraduate diploma from Royal Academy Schools in 2014, having previously studied Painting at Wimbledon School of Art.

Recent exhibitions include The Bear Pit, Focal Point Gallery, Southend (2015); Feast of Fools, TAP, Southend (2016); Sunday Art fair, London (2015); Annexinema, Bloc Projects, Sheffield & g39, Cardiff (2015); Graphics Interchange Format, Focal Point Gallery, Southend (2015)

paul-eastwood.net

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Apr
11
8:30 PM20:30

Nahum: All That Evermore Can Hold

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We have an endless journey ahead of us and I want you to have plenty of trust in this ride. Close your eyes and let’s begin.

This show explores our intimate experience of time: an elusive ingredient of the universe that is deeply rooted in our very own existence. We see it flowing while we attempt to measure it. We cannot see it and we cannot touch it. Yet, we use our senses and emotions to sense it.

How can we have a radical new perspective of time? How can we transgress its beating? Perhaps submerging deep inside our minds and taking our senses to their boundaries.

Can we do this?

Please note: This performance requires active participation of the audience. 

Age 18+

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Apr
11
6:00 PM18:00

Beth Greenhalgh: Experiment in Terror - There is Something in the walls other than pipe, brick and wire

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A durational performance – two hours

The mirror exists exactly where it always has.
Breathe, hum or cry. Howl of the wind trapped in plastic, trapped in cracks on this wall. It squeezes it's way through, gasping to catch its breath.
Your face follows sounds around the room. Lending an ear, trying to understand its last words.

In here the sentinel is exorcising sentiment.

Layers of space are unfolded through a mirror curtain that opens onto an inflating and deflating medium or ghost. They stain things, they dance and vibrate, they sing and scream. Its a séance.

The sentiment is on fire, Spring is here. Demons are exorcised and the ghost is put to rest.

There is something in the walls other than pipe and wire.

Please note: this is a durational work. Your ticket does not guarantee entry at a specific time - capacities are limited and you may have to wait to enter.

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Apr
11
to Apr 14

Jo Fong and Sonia Hughes: Neither Here Nor There

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Wed 11 - Sat 14 April, 1pm

Sonia and Jo host a series of conversations that happen over 6 minutes.

A bite to eat, weather permitting there will be a walk, natter, chat, table, chairs, come in sit down.

There will be solos, duets and ensemble moments.

Complexity takes time, it requires multiple voices, many levels of expertise and patience in the unspectacular.

This project has been inspired by the research of Frank Bock and Katye Coe.

 

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Mar
30
to May 6

Fiona Grady: Shadow Play

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Fiona Grady creates site-responsive drawings on walls, windows and floors using sequences of dispersing geometric shapes. Her practice recognizes the relationship between architecture, installation art and decoration; through the exploration of light, surface and scale. Each piece changes with the light of day emphasizing the passing of time and the ephemeral nature of the work. The artworks are conduits that highlight how light moves throughout a space, stretching and rotating across the day to create rhythms that accentuate the character of their setting.

For her exhibition Shadow Play, Grady has been commissioned to create a series of artworks on the cafe bar windows. Placed in three different areas of the gallery; the window installations reflect the structure of each of the windows they sit within. The drawings are composed from colourful transparent vinyl shapes - their size is determined by the window panes framework. The time-based artworks brighten and glow with the changing light of day to cast colour into the room and onto the adjacent surfaces. At times they will be more visible in the interior space, only to disappear in the evenings, when they will alternatively be illuminated by the internal lights to reveal a vibrant appearance from outside the building.

The intention of the exhibition is to create interaction within the venue with simple gestures. The focus on shadows and daylight is a means to connect the interior gallery to the exterior environment. The ever changing artworks seek to encourage the galleries audience to consider the building and it's quieter moments.

BIOGRAPHY

Fiona Grady (b. 1984, Leeds, UK) studied BA Fine Art at the University of Wales In Cardiff (UWIC) 2004-2007 and MA Fine Art at Wimbledon School of Art (UAL) 2010- 2011.  She lives and works in London.

www.fionagrady.co.uk

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