Gallery/Oriel

Yellow Back Books

Future Possible

01/11/18 – 24/11/18

 

Yellow Back Books began in 2015 with the intention to connect with a network of artists, publishers, readers and distributors, and explore a collective conversation around artist books. Yellow Back Books has recently re-grouped as a collaboration between Becca Thomas, Louise Hobson, Freya Dooley and Clare Charles and together, they’ll be in residence at Campfa between November 1st – 24th 2018.

Approaching this residency as a piece of speculative fiction, the group will return to initial intentions and collectively explore ways of pre-enacting future possible forms, narratives and scenarios for Yellow Back Books. The opening event will mark the beginning of this residency and their collaborative dialogue with artists Cinzia Mutigli and Melissa Appleton.

Following a period of making experimental video works that reference ideas from The Yellow Wallpaper by Charlotte Perkins Gilman, Cinzia Mutigli will present Singing up front, an exhibition of works in development including posters and text that have emerged from her recent residency at Hospitalfield, Arbroath.

Melissa Appleton’s collaboration with Yellow Back Books will draw on her recent project Quite Suddenly Your Smile is an Architecture (2016/17), an exhibition of the poetry and publishing projects of Jeff Nuttall staged at Broadleaf Books, Abergavenny and developed during Melissa’s recent Henry Moore Institute Visiting Research Fellowship.

www.yellowbackbooks.org

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Yellow Back Books

Future Possible

01/11/18 – 24/11/18

Lansiad Preswyl – Dydd Iau 1af Tachwedd, 6 – 8pm

Fe gychwynnodd Yellow Back Books yn 2015 gyda’r bwriad o gysylltu â rhwydwaith o artistiaid, cyhoeddwyr, darllenwyr a dosbarthwyr, ac archwilio sgyrsiau cyfunol am lyfrau artist. Mae Yellow Back Books wedi ail-gyfuno yn ddiweddar, fel casgliad rhwng Becca Thomas, Louise Hobson, Freya Dooley a Clare Charles a gyda’i gilydd, byddent yn preswylo yng Nghampfa rhwng 1af -24ain Tachwedd 2018.

Mae’r enw Yellow Back Books yn cyfeirio at ‘Yellow Backs’, enghraifft gynnar o lyfrau cloriau papur rhad argraffwyd ar gyfer y cyhoedd a’u dosbarthu i siopau gorsafoedd trenau. Roedd Yellow Backs yn cynnwys storiâu ffuglen ac antur, llawlyfrau addysgol a bywgraffiad, ac roeddent yn chwarae rôl gritigol yn democrateiddio’r byd cyhoeddi. Fe gychwynnodd Yellow Back Books gyda’r cynnig bod llyfrau artistiaid yn gallu darparu rôl debyg yn democrateiddio’r byd elit o wrthrychau celf; maent yn fwy fforddiadwy, yn fwy cludadwy a phersonol, gan olygu eu bod yn symudol- i’w cael eu dosbarthu neu eu cadw.

Gan drin y preswylfa fel rhan o ffuglen fyfyrgar, mae’r grŵp am ddychwelyd at fwriadau cynnar ac archwilio ffyrdd o rhag-ddangos ffurfiau posibl a ddaw, naratif a senarios ar gyfer Yellow Back Books. Bydd hyn yn rhedeg yn baralel i ddialog agored cydweithredol gydag artistiaid Cinzia Mutigli a Melissa Appleton.

Yn dilyn cyfnod o greu gwaith fideo arbrofol sy’n cyfeirio at syniadau o The Yellow Wallpaper gan Charlotte Perkins Gilman, Bydd Cinzia Mutigli yn cyflwyno For the time being, toriadau, arddangosfa o waith yn cynnwys posteri a thestun sydd wedi ymddangos o’i phreswylfa ddiweddar yn Hospitalfield, Arbroath.

Bydd cydweithrediad Melissa Appleton gyda Yellow Back Books yn tynnu ar ei phrosiect diweddar Quite Suddenly Your Smile is a Architecture (2016/17), arddangosfa o farddoniaeth a phrosiectau cyhoeddi Jeff Nuttall, wedi ei lwyfannu yn Broadleaf Books, Y Fenni a’i ddatblygu yn ystod Cymrodoriaeth Ymchwil Ymweliadol yn Henry Moore Institute.

http://www.yellowbackbooks.org

 

 

Anne Smith
Bleecker Street
01/11/18 – 24/11/18

I have been Artist-in-residence here in the basement of ArcadeCardiff gallery for the past 6 months. The subterranean studio is large and industrial-looking, but I have made myself at home with a carpet, a Magicoal electric fire and a radio. Fixed on the the walls are 2 giant cardboard boxes from Greggs, opened out flat. On these pinboards I pin and move around pieces of fabrics and drawings, trying to discover exciting colour and shape combinations.
I love the traditions of quiltmaking, and also the free spirit of abstract painting, and over the last 22 years I have combined these to make expressive wall-hung quilts inspired by my thoughts and experiences.
I like the idea of making something whole out of the many different shaped pieces of my life (and other people’s lives, because I mainly work with recycled clothes that people have given to charity shops). And also that great things can be expressed with simple means and down-to-earth materials.
I like my work to have a painterly quality, although I use no paint, just hand and machine stitching. The techniques I use are simple: basic hand stitches, running & quilting stitch, to secure patches together.
I was originally inspired by the work of contemporary American art-quilt makers, so I was very excited last year to spend 4 months in New York City (partly supported by Wales Arts International). I lived and worked in a large studio apartment at The Sheen Center on Bleecker Street in Manhattan, as Artist-in-Residence.
It was a challenge to connect my slow paced, thoughtful type of work, with the big spectacular city. Ironically, what I noticed most were the close-up details of everyday life. Side streets, surfaces, working people and businesses, the layers of history everywhere.
I spoke with people from all walks of life, and volunteered with a charity feeding the homeless people at Grand Central, which made a great impression on me. In the character of the clothes worn by these homeless people I found an emotional connection with my work, and my own use of recycled clothes.
I have developed this at ArcadeCardiff. The quilt called ‘Outside the Overthrow’ refers to the Overthrow Boxing Club on Bleecker Street, with its façade of torn posters and graffiti merging into the layers of clothes worn by the man, George. And there are several other quilts shown here which are still in progress – they take a long time to make.
It was a shock when I returned to Wales from New York last December. I didn’t know how to begin to process all my new ideas in my tiny studio. The Arcade residency offered me not only the space to do so, but also the strong support of a committed community, and I would like to thank everyone for their invaluable help. It has been a hugely positive and creative time. Thank you.
BIOGRAPHY
Born in Wigan, lived in Wales for 20 years. Studied Ceramics at Cardiff and Textiles at Birmingham. Numerous group & solo exhibitions in UK, USA & France. Represented Wales at Lorient 2011, selected for biennial Quilt National (USA) 8 times, winning the competition in 2009.
www.anne-smith.weebly.com

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Anne Smith
Bleecker Street

01/11/18 – 24/11/18

Ers 6 mis, rwyf wedi bod yma yn seler ArcadeCardiff, fel artist preswyl. Mae’r stiwdio danddaearol yn un mawr a diwydiannol ei olwg, ond rwyf wedi ymgartrefu yma, gyda charped a thân drydan Magicoal a radio. Ar y waliau mae 2 focs cardbord o Greggs, wedi ei agor allan yn fflat. Ar y pinfyrddau yma rwyf yn pinio darnau o ddefnydd a darluniau ac yn eu symud o gwmpas, gan drio darganfod lliw a chyfuniadau siapiau cyffroes.

Rwyf wrth fy modd gyda thraddodiadau gwneud cwiltiau, a hefyd y rhyddid o baentio haniaethol, a dros y 22 mlynedd diwethaf rwyf wedi cyfuno’r rhain i greu cwiltiau mynegol sy’n hongian ar waliau, wedi ei hysbrydoli gan fy mhrofiadau a meddyliau. Rwy’n hoffi’r syniad o greu rhywbeth cyfan allan o ddarnau siapiau gwahanol o fy mywyd (a bywydau pobl eraill, oherwydd fy mod rhan amlaf yn gweithio gyda dillad wedi ei ailgylchu o siopau elusennol). Hefyd, bod pethau gwych yn gallu cael eu mynegi mewn modd syml a deunyddiau diffwdan. Rwy’n hoffi fy ngwaith i fod ag ansawdd arlunol, er nid ydw i’n defnyddio paent, dim ond gwnïo gyda llaw a pheiriant. Mae’r technegau sy’n cael ei ddefnyddio yn syml; gwnïo gyda llaw, pwyth cwilt a phwyth redeg i ddal clytiau at ei gilydd.

Roeddwn wedi cael fy ysbrydoli yn wreiddiol gan gwneuthwyr cwiltiau cyfoesol o America, felly roeddwn wedi cynhyrfu i dreulio 4 mis yn Efrog Newydd (wedi ei ariannu yn rhannol gan Celfyddydau Rhyngwladol Cymru). Roeddwn yn byw a gweithio mewn fflat stiwdio fawr yn The Sheen Center ar Bleecker Street yn Manhattan, fel artist preswyl. Roedd yn her cysylltu fy ngwaith araf ei gam, gwaith synfyfyriol, gyda’r ddinas fawreddog. Yn eironig, beth sylwais yn fwyaf oedd manylder agos o fywyd pob dydd. Strydoedd ochr, arwynebau, pobl yn gweithio a busnesau, haenau o hanes ym mhobman.

Siaradais gyda phobl o bob math, a gwirfoddolais gydag elusen yn bwydo’r digartref yn Grand Central, a wnaeth argraff fawr arna’i. Yng nghymeriad y dillad a gwisgwyd gan y bobl ddigartref hyn, fe darganfyddais cyswllt emosiynol gyda fy ngwaith a fy nefnydd fy hun o ddillad wedi ei hailgylchu.
Rydw i wedi datblygu hyn yn Arcadecardiff. Mae’r cwlit ‘Outside the Overthrow’ yn cyfeirio at Overthrow Boxing Club ar Bleeker Street, gyda’i wyneb o bosteri wedi ei rhwygo a graffiti yn ymdoddi mewn i haenau o ddillad a wisgir gan y dyn, George. Mae cwiltiau gwahanol yn cael eu harddangos sydd heb eu gorffen- mae’n cymryd amser hir i’w gwneud.

Roedd yn sioc pan ddychwelais i Gymru o Efrog Newydd mis Rhagfyr diwethaf. Doeddwn i ddim yn gwybod lle i ddechrau prosesu fy syniadau newydd yn fy stiwdio fach i. Mae preswylfa Arcade wedi galluogi bod gofod i wneud hynny, maent hefyd wedi cynnig cymorth a chymdeithas ymroddedig, a hoffem ddiolch i bawb am eu cymorth. Mae wedi bod yn gyfnod positif a chreadigol. Diolch.

BYWGRAFFIAD
Yn enedigol o Wigan, ond wedi byw am 20 mlynedd yng Nghymru. Astudiodd Cerameg yng Nghaerdydd a Gwehyddu ym Mirmingham.
Arddangosfeydd grŵp ac unigol yn y DU, UDA a Ffrainc. Cynrychioli Cymru yn Lorient 2011, cael ei dewis ar gyfer biennial Quilt International (UDA) 8 gwaith, gan ennill yn 2009.

www.anne-smith.weebly.com

 

 

Anne-Mie Melis

Slow Landscape

4/10/2018 – 27/10/2018

 

Confronted by rapid changes in our society, driven by technology and global connectivity, how do we develop a symbiotic relation with nature? In her work Anne-Mie Melis uses a variety of artistic mediums and takes inspiration from evolutionary biology, science and our contemporary urban and natural environment. A 300 million year old fossil and 3D printed seedpods are among the specimens she uses in this project to nurture a speculative future nature.

 

“Our time is the “anthropocene,” the age of human disturbance. The anthropocene is an era of mass extinction; we must not forget that. Yet the anthropocene is also an era of emergence. What has emerged? I use the term “contaminated diversity” to refer to cultural and biological ways of life that have developed in relation to the last few hundred years of widespread human disturbance. Contaminated diversity is collaborative adaptation to human-disturbed ecosystems. It emerges as the detritus of environmental destruction, imperial conquest, profit making, racism, and authoritarian rule—as well as creative becoming. It is not always pretty. But it is who we are and what we have as available working partners for a liveable earth. “Slow disturbance” refers to anthropogenic ecosystems in which many other species can live. Slow disturbance landscapes are those that nurture interspecies collaborations. They are not untouched by the presence of humans, the ultimate weedy invader. Still, their biodiversity is comparatively high. I use the adjective “slow” in conversation with slow foods and slow cities; slowness is a dream to encourage, rather than a trait to objectify.” (Ref: Tsing, Anna. “Contaminated Diversity in ‘Slow Disturbance’: Potential Collaborators for a Liveable Earth,” In: “Why Do We Value Diversity? Biocultural Diversity in a Global Context,” edited by Gary Martin, Diana Mincyte, and Ursula Münster, RCC Perspectives 2012, no. 9, 95–97.)

Anne-Mie Melis

Slow Landscape

4/10/2018 – 27/10/2018

Yn wyneb newidiadau chwim yn ein cymdeithas, a chael ein ysgogi gan dechnoleg a chysylltedd byd-eang, sut mae datblygu perthynas symbiotig a natur? Yn ei gwaith mae Anne-Mie Melis yn defnyddio amryw o gyfryngau artistig ac yn cael ei hysbrydoli gan fywydeg esblygol, gwyddoniaeth ac ein hamgylchedd trefol a naturiol. Yn y prosiect hwn, i feithrin natur y dyfodol. mae ffosil 300 miliwn oed a chodau hadau wedi ei arffraffu yn 3D ymhlith y sbesimenau.

Ein amser ni yw’r ‘anthropocene’, yr oes o aflonyddwch dynol. Cyfnod o ddifodiant torfol yw’r anthropocene a rhaid peidio anghofio hyn. Er mae’r anthropcene hefyd yn oes o gyfodiad. Beth sydd wedi ymddangos? Rwy’n defnyddio’r term ‘amrywiaeth llygredig’ i gyferirio at ffyrdd o fyw, yn ddiwyllianol ac yn fiolegol, sydd wedi eu datblygu mewn perthynas i’r rhai canrifoedd diwethaf o aflonyddwch dynol. Addasiad cydweithredol i ecosystemau sydd wedi ei aflonyddu gan ddyn yw ‘amrywiaeth llygredig’. Mae’n ymddangos fel y detritws o ddifrod amgylcheddol, concwest ymerodrol, elwa, hiliaeth, a rheol awdurdodaidd – yn ogystal a ymarferiad creadigol. Nid yw bob amser yn bert. Ond dyma ni, a dyma yr hyn sydd gennym fel partneriaid ar gyfer daear trigadwy.
Mae ‘slow disturbance’ yn cyfeirio at ecosystemau anthropogenig ble mae llawer o rhywogaethau eraill yn gallu byw. Tirweddau aflonyddiad araf (slow disturbance landscapes) yw y rhai sy’n meithrin cydweithrediad rhyngrywogaethol. Nid ydynt heb eu cyffwrdd gan bresenoldeb dynol, yr ymyrrwyr chwynnog mwyaf. Eto, mae eu bioamrywiaeth yn weddol uchel. Rwyf yn defnyddio’r ansoddair “araf” mewn sgwrs gyda bwyd araf a dinasoedd araf; mae arafwch yn freuddwyd i annog , yn hytrach na nodwedd i wrthrycholi.

(Cyf: Tsing, Anna. “Contaminated Diversity in ‘Slow Disturbance’: Potential Collaborators for a Liveable Earth,” In: “Why Do We Value Diversity? Biocultural Diversity in a Global Context,” golygu gan Gary Martin, Diana Mincyte, a Ursula Münster, RCC Perspectives
2012, no. 9, 95–97.)

‘Mae ‘slow disturbance’ yn cyfeirio at ecosystemau anthropogenig ble mae llawer o rhywogaethau eraill yn gallu byw. Tirweddau aflonyddiad araf (slow disturbance landscapes) yw y rhai sy’n meithrin cydweithrediad rhyngrywogaethol. Nid ydynt heb eu cyffwrdd gan bresenoldeb dynol, yr ymyrrwyr chwynnog mwyaf. Eto, mae eu bioamrywiaeth yn weddol uchel. Rwyf yn defnyddio’r ansoddair “araf” mewn sgwrs gyda bwyd araf a dinasoedd araf; mae arafwch yn freuddwyd i annog , yn hytrach na nodwedd i wrthrycholi’
(Cyf: Tsing, Anna)

 

Ronnie Houselander Cook

ONION TOWN

03/10/2018 – 27/10/2018

Onion Town is a fictional bustling metropolis that is based on shapes that are found in day-to-day city life. The work aims to question whether permanent architecture is a fundamental part of the future; reimagining buildings and architecture in a way that suggests they can move under their own free will without consequence.

The growing world requires us to be flexible, so why aren’t our buildings flexible too? An interest in legs and feet has helped depict this idea of movement with plastic feet taking the place of performers.

The materials are tacky, unkempt, provisional with a throw-away aesthetic showing how quickly things can be made. Feelings of awkwardness and an interest in the anthropomorphic qualities of buildings have encouraged this explorative body of work.

Ronnie Houselander Cook

ONION TOWN

03/10/2018 – 27/10/2018

Metropolis bywiog ffuglenol wedi ei seilio ar siapiau dinesig a gwelir o ddydd i ddydd yw Onion Town. Nôd y gwaith yw i gwestiynnu a yw pensaernïaeth parhaol yn rhan hanfodol o’r dyfodol; gan ail-ddychmygu adeiladau a phensaernïaeth mewn ffordd sy’n awgrymu y gallent symud ar ben eu hunain heb ganlyniadiadau.
Mae’r byd yn ein mynnu i fod yn hyblyg, felly pam nad yw ein adeiladau yn hyblyg hefyd? Mae diddordeb mewn traed a choesau yn gymorth i bortreadu y syniad o symudiad gyda thraed plastig yn cymryd lle perfformwyr.
Mae’r deunyddiau yn taci, bler, dros dro gyda aesthetig tafladwy sy’n dangos pa mor gyflym mae pethau yn gallu cael eu creu. Mae teimlad o letchwithdod a diddordeb yn rhinweddau anthropomorffig adeialdau wedi hybu y gwaith ffrwydrol yma.

 

James Green

PAINTINGS OF PLANET EARTH

5/9/19 – 29/9/18

The world is full of things that are just beyond the reach of our senses: ghosts, UFO’s, extra terrestrials, spirits, gods, demons, portals to other universes, other dimensions, and other worlds.

From the beginning of human kind, people have used magic, religion, and art to communicate with, study, and seek the aid of these entities, and these practices are still used all over the world today.

The Paintings of Planet Earth acknowledge these forces that science can only partially explain, and are documents of real experiences that only art can communicate.

Website: http://www.jg-gallery.co.uk

Instagram: jamesgreenufo

Contact: james.green@network.rca.ac.uk

James Green

PAINTINGS OF PLANET EARTH

5/9/19 – 29/9/18

Mae’r byd yn llawn pethau tu hwnt ein synhwyrau: ysbrydion, UFOs, allfydolion, duwiau, demoniaid, pyrth i fydysawdau eraill, dimensiynau eraill a bydoedd eraill.

Ers dechrau dynolryw, defnyddwyd lledrith, crefydd a chelf i gyfathrebu, astudio, a chwilio am gymorth gan yr endidau yma, ac mae’r ymarferion yn dal i fyw hyd heddiw.

Mae The Paintings of Planet Earth yn cydnabod y grymoedd sy’n rhannol anesbonadwy yn wyddonol , ac yn ddogfennau o brofiadau go iawn a fynegai drwy celf yn unig.

Gwefan: http://www.jg-gallery.co.uk

Instagram: jamesgreenufo

Cysylltu : james.green@network.rca.ac.uk

 

Becoming One

Isabella Bilstein + Roz Adams

5/9/18 – 29/9/18

Text by Jamie Stevenson

“Do Not Touch.” Here are words of unchecked power; cold and cruel, insidious in their familiarity. In an age where lies greet the eyes with a twinkling grin, the ability to reach out and feel grows ever more elusive. We are told to believe what we see and trust what we hear, while every advancement in digital technology only increases human capacity for illusion.

To touch, however, is to defy such deception. To grasp something – to feel the weight in your hands and the texture on your skin – is to truly know that thing. As babies, our primal thirst for knowledge begins at the tips of our fingers; we prod and stroke and squeeze and poke our way through the world, consuming everything through its tactility. All these little snippets of sensation come together and fuse in our subconscious, imbuing every familiar sight and sound with the comforting certainty of having felt it somewhere before.

‘Becoming One’ is a collaborative exhibition by metal smith Roz Adams and ceramicist Isabella Bilstein. By interweaving their contrasting individual creative practices, they have fashioned a platform for a layered and tactile engagement with the materials and processes that are central to their work. The sanctity of the finished object is broken down to reveal the rich narrative behind each polished edge and textured glaze, and the viewer is invited to follow the materials on their journey from raw building block to realised outcome. Importantly, care is taken not to disregard all the deviations from that path; the hiccups, the unintended happenings, inevitable by-products of such complex, time-consuming and unpredictable making processes.

The melding of two such distinct practices allows not only for a juxtaposition of aesthetic and form, but also for a unique marriage between the materials in question. Alongside individual pieces, Roz and Isabella have created a series of collaborative works that combine metal casting with functional and sculptural ceramics to create hybrid forms. There is an enthusiasm here not for completion, but for experimentation and discovery. It is a testament to the skill and understanding possessed by these two artists – and the respect they have for their chosen crafts – that they are able to leave the fate of the outcome so firmly in the hands of the materials they use. Two ideas; one alive and molten, one fired into permanence, are buried together in the sand. They emerge as one. They are not greedy; the hungry clay does not devour the pewter’s liquid sheen, and neither does that silver gleam outshine the richness of the earth. Instead, they stand as tactile monuments to conversation and knowledge shared. Here are whole objects with stories not concealed by the illusion of perfection, but laid bare at the surface, well within reach.

 

Pleased to meet you 

03/08/18 – 01/09/18

Arcade Cardiff and gallery RDV join forces in 2018 to create a residency and exhibition across the two spaces. This partnership was born under the impulse of Pascal-Michel Dubois, Board member of Arcade, wanting to create an artistic partnership with the city of Nantes, twinned with Cardiff, and more particularly with the exhibition space RDV. This collective exhibition is an extension of the programming of the RDV gallery by supporting, in its selection, two emerging artists from Nantes, Pauline Gompertz and Stefan Tulépo. They will be accompanied by Béatrice Dacher, Michel Gerson and Jean-François Courtilat.

Elijah Thomas: A Scene Within A Scene

03/08/18 – 01/09/18

‘This is a scene within a scene. Sure, I could call it the Cardiff music scene but this is just a small section of it. This is something a little deeper. A collection of friends bound together by a mutual respect for one another. Some make their music together, some even live together under the same roof but not one band sounds the same. Cardiff doesn’t have a particular ‘Sound’ it’s a mixture of different styles and genres. This is a chance for me to shine a light and say thank you to the bands that helped soundtrack the photographs that I take both on and off the stage. Forget London, forget Manchester, this is Cardiff. Hopefully other photographers in the area will see these photographs and take more notice of their friends playing music. Perhaps maybe you’d like to document them? maybe even put on an exhibition? I’d love to see what you’ve got.’

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Thank you to Old Blue Last Beer for sponsoring the exhibition.

Helen Grant: Funnul

20/06 – 07/07

FunnuL uses a symbol that commonly denotes the need for caution to instead entice people inside ARCADE. It’s nylon innards are at once an invitation and a warning, highlighting our seemingly inevitable attraction to danger and situations or people that are not necessarily good for us. Its title also references the purchasing funnel, a theoretical model used in marketing to illustrate the customer ‘journey’ from product awareness to purchase. Perfectly sited in a shopping centre, FunneL encourages passers by to step within for a sudden change of perspective and pace.

Helen Grant is an artist based in Bristol. She is interested in the unsaid and understated ways in which we communicate, the humour, mishaps and pathos of human interactions. Her recent work makes use of symbols from familiar yet unfathomable sources: flags and cushions based on archaic naval alphabets, and paintings made from carrier bag graphics.

Helen is also part of Back in 5 Squad, a collaboration who’s dystopian installations ‘Make your eyes and ears bleed’ and she co-runs Test Space, an artist-led project and exhibition space at Spike Island.

PV 20/06 6-8. Open Wednesday to Saturday 12.30 – 17.30

PV 30/05/18. Ar agor Dydd Mercher- Dydd Sadwrn  12.30 – 17.30