Response Time – Black Smoke Rising

Response Time participant Hannah Pullen talks about the project and responding to Black Smoke Rising which will be performed Saturday 15th November 5PM

How did you get involved with the Response project?
I first got involved in the project about two years ago. At the time I was studying a level three national diploma in Performing Arts at Coleg Ceredigion. The course introduced me to all styles and disciplines of performance that I had never before considered having only experienced a brief period of youth theatre. One of my college friends (James Baker) became involved with the project and I became instantly swept up in his enthusiasm and got involved myself. Having begun to have developed a process for creating and performing my own theatre within the college environment, the opportunity to further explore my process and performance techniques in a more experimental space allowed me to establish myself as both a solo and collaborative performer.

What are your favourite things and least favourite things about the response time project?
The most rewarding aspect about the response time project is the chance to work with so many multi-disciplinary artists from such diverse backgrounds. As long as you are open to the process and other participants methods of working you can learn a lot from the artists you get to work with. I value any opportunity to work collaboratively and develop new ways of devising and performing, and this project gives me exactly that.

The thing I love most about the response time project is the opportunity to open up a conversation between the arts. Too often we categorise art and separate the forms. I think the arts can be strengthened by the cross over and combining of forms. Our performances come as a result of a direct conversation with the art work in the space. The time limitations provide an interesting foundation for us to build our relationship with the work upon. Often our responses are led by an initial feeling or connection with a piece and the concept has little time to develop – this means there is no time for the concept to get over complicated and blur the communication of the piece. What we’re working with is raw honest responses.

The most exciting development in the response time project is our recent visit to Cardiff to respond to Artes Mundi in the National Museum of Wales. I am so pleased with how well the project has been received and the amount of support and interest we are getting. It was such an incredible experience to leave the comfort of Aberystwyth and head off to the big city. The Artes Mundi response had a very interesting dynamic to it. Previously we have predominantly worked in Aberystwyth Gas Gallery – a space that now feels like home, a space we have become very comfortable and accepted in, and a foundation for our little community of performers. When working in the museum the pace change was instantly noticeable. No silence or stillness could be found in this space. The gallery where we were working welcomed a constant flow of rushed, confused, and disinterested people; some on lunch breaks, others looking for dinosaurs, and others shaking their heads and saying “this isn’t art”. Occasionally you would discover someone who genuinely engaged with the art work, took notice to the responses in the room, and respected the relationships that were building in the space. I found it challenging to find my feet in such a foreign place, making me realise I had become far too attached to the performance spaces and that my responses were being clouded by my fondness for the space. Artes Mundi brought the response time project back into focus for me, allowing me to return to the initial instinctive connection and respond honestly and purposefully to the art.

It’s hard to think of anything that I don’t like about the project at this moment. In some ways the things I love about the project are also the things that frustrate me the most. The limitation of time is both a blessing and a curse; more than once have I thought “if only I could have rehearsed that one more time,” or “I should have developed that further…”
However, once you commit to the project and the process of responding, accept the things you can’t change, you sort of get caught up in it – there’s a positive pace and energy to the group that always keeps me going.

You have been involved in a few now, which has been your favourite and why?
It’s very difficult to choose a favourite when each response time has been so different to the one before it. Each has a unique tone that is impermanent – arising from the art work and fading as the performers leave the space for the last time. That’s what’s so beautiful about this project!

My first response is definitely my most memorable – a movement piece situated in a small storage room. I was responding to a relatively small piece, probably not a lot bigger than A4. The image depicted a young woman in a room with the light being cast behind her, turning her into a silhouette.  The physical piece tried to explore this character in the picture, and explore her feelings about being in this space – the picture doesn’t suggest any freedom, it appears frozen in time, stuck forever.

Responding to Black Smoke Rising was your idea, what was it about the exhibition that made you want to respond?
It’s rare to find such emotionally charged art that is so demanding of its viewers – inviting us to engage with the space, the atmosphere, the structures in the space, and the emotional and political content of the pieces. In a way Tim Shaw’s Black Smoke Rising, is a performance in itself. The gallery has been transformed into an environment for its viewers to explore and navigate in an unconventional way. Usually when entering a gallery we are restricted by the behavioural expectations of the art viewer. I mean to say that our behaviour is pre-determined for us; we enter the space quietly (often never talking more loudly then a whisper), we stop and wait for a few seconds to make sure we have given an acceptable amount of attention to each piece, we do not touch the art, we do not get too close, we try and think critically and this shuts us off – viewing art has become a mechanised learnt response.

I felt these expectations instantly fall away upon entering Black Smoke Rising. The sheer intensity of the environment shocked me out of this “correct way to view art,” and left me raw and vulnerable in the space; open to engage with the art in a very instinctive and honest way.

That is what the response time project is about.

“Immediate, real and authentic responses to art and space”. Sandra Bendelow (producer)


Response Time: Black Smoke Rising

James BakerFollowing their recent response to Artes Mundi 6 at National Museum Cardiff the Response Time project will take on it’s biggest challenge yet, a response to Tim Shaw’s Black Smoke Rising at Aberystwyth Arts Centre.

The Response Time project began as a pilot project to create performed response to art, space and environment at the Gas Gallery in Aberystwyth. In April 2014 it extended the 48 hour long project into a ten day residency at the gallery Adleisio: Replay Me which explored immediate responses and longer developed responses to the work of Annie Morgan Suganami’s exhibition alongside the development of previous work. In October it was invited to participate in the lunchtime performance series at Artes Mundi 6 and will be returning to Cardiff in December to respond to Artes Mundi 6 at Turner house Gallery in Penarth.

Response Time allows young and emerging artists and performance makers to work alongside more experienced performance makers and curators from a variety of disciplines. It provides a vital opportunity for performance makers to gain performance experience and explore their own and others process of developing work.

Sandra Bendelow, who produces the project said, “The reason this response is a greater challenge is because of the nature of the exhibition, the exhibition is one that overwhelms those who view it,  it demands an extreme emotional response. Asking artists to form that response into something, to then perform it with this extreme experience in the background – it is a big ask. We have kept the group small so that we know everyone can work together, support one another. We have also had to explore the audience experience question far more extensively than usual because in basic terms we are asking them to stay in a space that many may want to leave. We have also had to think about how we introduce the audience to the space and also how we ask them to leave it. We never really know what will produced at one of these because it is about immediate, real and authentic responses to art and with this exhibition there is a guarantee of thought provoking responses.”

In 2015 Response Time will be looking for new gallery spaces throughout Wales in which to work on  week-long residencies responding to art, space and environment.

The performed response will take place Saturday 15th November 5PM. It is free. For more information on Response Time or Scriptography Productions contact

Response Time: Artes Mundi 6 Introducing the Participants


Response Time: Open Space. Image by Keith Morris

Response Time: Open Space. Image by Keith Morris

Petra Aydin Barberini
Creator, Designer, Writer.
Petra works across disciplines. Experienced in the making of site specific installations and kinetic objects. She works with the designing and manufacturing of bespoke jewellery for a living.

‘I’ve worked with everything from precious objects to live projects with massed choirs and orchestras. I have a passion for using film projection as a light source to change and define spaces and the use of abstract sound to introduce a fixed timebased element of emotional narrative.”

Petra is fascinated by the capture of memory in objects and the narratives triggered by treasured items. She has recently started exploring the written word for performance.

Her future projects will include collaborating with the Cardiff School of Art and Design at the Fab Lab project and also joining the team responsible for the ‘Culture Colony Quarterly Magazine’ Wales’ rising star in printed contemporary art journalism.

James Baker
James Baker is a Writer and Performer, recently graduated from a Performing Arts BTEC at Coleg Ceredigion. He is currently writing his first full length play.

He’s fascinated by how we narrativise our lives, the Stories and Lies we tell ourselves and each other to make life liveable, and he hopes the human condition of endemic self-deception is a long-lived one as he finds it quite useful for getting to sleep at night.

Hannah Pullen
Hannah Pullen loves to respond to life in as many ways as artistically possible. In her spare time she likes to cause mayhem with her art… initiating origami invasions of space, filling puddles with rubber ducks, and decorating anything that looks like it could do with a bit of glitter.

She recently completed her Performing Arts BTEC at Coleg Ceredigion and is currently studying Theatre, Film and Television Studies at Aberystwyth University.

She is particularly interested in live art events; creating traces and images within theatre – and is in love with artists such as Franko B, and Marina Abramovic. She is also becoming increasingly interested in responding through movement; exploring relationship, environment and language through movement and dance – with heavy influence from Keersmaeker, Pina Bausch, and the structures of Mike Pearson’s “In all languages.”

Mar Shro Gora
Mar Shro Gora is an artist whose work is concerned with time. Self-documented performance, sculpture and textiles are integrated into lens-based work using alternative photographic processes. Mar Shro has performed and exhibited at Tate, BALTIC, Yorkshire Sculpture Park, FACT, APT Gallery London, New Gallery London, Manchester’s greenroom, Basic FM, Lightworks, Oriel Davies Gallery, Aberystwyth Arts Centre, Gas Gallery / Oriel Nwy Aberystwyth, St Dogmaels Gallery and MAERZ and bb15 galleries, Linz, Austria. Mar Shro participated in ISIS Arts’ Nomadic Village 2012, DIE FABRIKANTEN’s Akademie der Stille in Austria’s Dachstein region, and Schmiede 2012 & 2013 in Hallein, Austria.

Naomi Heath
I hate writing artist’s statements. To be honest, I hate reading them too. Do you enjoy them?

I work as an artist because I love it. Art is embedded in me; it’s what I am, and it’s all I know. I just seek to communicate clearly and accessibly, without patronising or alienating anyone, at any stage in the process. I believe that if art’s good enough, it will reach anyone who’s interested. The artist’s ego, history and insecurities I see as unnecessary baggage.

I’m a listening artist, and people and places are very important to me. Their language and their narratives create the dynamics of my art. Only after getting a feel for these do I begin to decide what mediums I might use in response – perhaps poetry and performance, perhaps video and sound, perhaps other technologies or cultural forms. Perhaps a combination of several.

I’m a bilingual artist, and that helps me to understand how many different layers of perception exist, and how different ways of seeing and understanding exist alongside each other. I’m increasingly aware too, of all the things art can’t say, and how much of any experience it just can’t catch. So I’m drawn to multi-sensory and bilingual approaches that give us more chance to ‘clywed’ – make sense of and categorise – the world and experiences round us.

I’m a collaborative artist. In my experience, people learn more about themselves by working together, than by working alone. Cultures and communities are so dense, multi-faceted and multi-layered that different personalities and patterns of perception can open up understandings, and offer useful ways forward, for all of us involved in a collaboration.

Art’s a simple thing to me, in many ways. It’s a process of learning and growing and giving, of being guided and inspired by people you love, and people you meet. It’s about responding honestly, kindly and generously to situations, people, places and their stories. About refusing to be trapped by preconceptions. About caring enough to work all day, for days and weeks, to create something you believe is worthwhile, and will enrich others. And about being willing to rebel.

That’s me.

Naomi Heath
Mae’n gas gyda fi wneud datganiadau artist. Â dweud y gwir yn onest, mae’n gas gyda fi eu darllen nhw hefyd. Ydych chi’n eu mwynhau nhw?

Rwyf fi’n gweithio fel artist achos fy mod i’n dwli ar gelf. Mae’n rhan ohonof fi. Hwn yw’n hanfod i. A’r unig beth rwyf fi’n gwybod amdano. Hanfod fy ngwaith yw ceisio cyfathrebu, yn eglur ac yn ddealladwy, heb fod yn nawddoglyd a heb eithrio neb. Rwyf fi’n credu bod celf sy’n taro deuddeg yn cyrraedd pob un sydd â diddordeb. Ac i mi mae pethau fel ego ac ansicrwydd a hanes personol yr artist yn llyffethair i’r gwaith ac yn ddi-angen.

Rwyf fi’n artist sy’n gwrando, sy’n ystyried pobl a lle yn bethau pwysig iawn. Ieithoedd y pethau hyn, a’u hanesion, sy’n gyrru deinameg fy ngwaith. Dim ond ar ôl dod yn gynefin â nhw y byddaf yn penderfynu ar gyfrwng neu gyfryngau fy ymateb – ai ar ffurf barddoniaeth a pherfformiad ynteu fideo a sain, ar ffurfiau technolegol neu ddiwylliannol eraill ynteu ar gyfuniad o sawl un. Mae gwyddoniaeth, fel celf, yn destun rhyfeddod i mi, ac rwyf fi wrth fy modd yn gwneud defnydd o sgiliau gwyddoniaeth a thechnoleg yn fy ngwaith.

Rwyf fi’n artist dwyieithog, ac mae hynnu’n helpu fi i ddeall bod sawl haenen gwahanol o ganfyddiad i’w chael, a fel mae’r gwahanol ffyrdd o weld a deall y byd yn cyd-fyw. Ar ben hynny mae fy ymwybyddiaeth yn cynyddu o’r holl bethau nad all celf ddim â’i ddweud, ac o ba mor fawr yw’r cyfran hwnnw o unrhyw brofiad sydd y tu hwnt i allu celf i’w gyflwyno. O achos hynny rwyf fi’n hoffi dilyn trywydd sy’n defnyddio dwy iaith a sawl synnwyr, trywydd sydd o’r herwydd yn rhoi mwy o gyfle i ni ‘glywed‘ – i gymryd i mewn a threfnu, a gweld rheswm, yn y byd o’n cwmpas a’i brofiadau.

Mae fy null gwaith yn un cydweithredol. Rwyf fi’n gwybod o brofiad bod pobl yn dysgu mwy amdan eu hunain drwy gydwneud â phobl eraill na thrwy weithio ar eu pennau eu hunain. Mae diwylliant a chymuned yn bethau mor ddwys, mor amlochrog a mor amlhaenog, fel bod gwahanol bersonoliaethau a’u ffyrdd gwahanol o weld y byd yn gallu agor ffenestri dealltwriaeth a chynnig ffyrdd ymlaen sydd nid yn unig yn newydd a dadlennol, ond sydd hefyd yn ddefnyddiol i’r rhai hynny sy’n dewis cydweithio.

Mae celf i mi’n beth syml, mewn sawl ffordd. Mae’n proses o ddysgu, o dyfu ac o roi, o gael eich harwain a’ch ysbrydoli gan bobl sy’n annwyl i chi, a gan bobl sy’n newydd i chi. Mae’n golygu hefyd ymateb yn onest, yn garedig ac yn haelionus i sefyllfaoedd a phobl, i lefydd a’u hanes. Mae’n golygu gwrthod cael eich caethiwo gan ragdybiaethau; a becso digon i weithio drwy’r dydd, bob dydd am wythnosau i greu rhywbeth yr ydych chi’n credu sy’n beth o werth, ac a fydd yn cyfoethogi bywydau pobl eraill. Ac mae’n golygu bod yn barod i wrthryfela.

Wele fi.

Ruth Hogg
Ruth Hogg is a multidisciplinary artist, maker and arts facilitator. She enjoys working with and within the community in all of her work and in terms of arts facilitation, she has experience working within the sphere of promoting positive mental health, working with people with special needs, emotional and behavioural problems, autism or youth offenders, and considers that we are all unique, and can learn from each other. She has curated ::the studio:: Gallery in Aberystwyth since 2009, which has given many young artists their first solo shows,as well as working with established artists and has an emphasis on creating an interactive experience for the viewer, often blurring the boundaries between artist, audience and participant, in its multisensory time-based approach to curating.

In her own artistic practice she mostly works with photography, installation, film, performance, poetry, movement and found objects. She has exhibited since 2001,including work shown in Chapter and Tactile Bosch in Cardiff. Her thematic interests include Light, Symbols, Mandalas, Objects, Healing, Magic, Archetypes and Elements and her approach usually involves intense curiosity, and a desire for mutual understanding and discussion, with a hint of comedy thrown in!

“Elementals Re-sound. Arche-typos re- flecked with old paint, re-fraction of a second was all it took for the echo to eternalise…………..”

Response Time with Artes Mundi 6 at National Museum Cardiff

Hannah Pullen

Hannah Pullen. Image by Keith Morris

Response Time will be taking its unique form of performed response to art, space and environment to Cardiff with a 24 hour live response to Artes Mundi 6 at the National Museum Cardiff on Thursday 30th October.

The Response Time project began as a pilot project to create performed response to art, space and environment at the Gas Gallery in Aberystwyth. In April 2014 it extended the 48 hour long project into a ten day residency at the gallery Adleisio: Replay Me which explored immediate responses and longer developed responses to the work of Annie Morgan Suganami’s exhibition alongside the development of previous work.

Response Time allows young and emerging artists and performance makers to work alongside more experienced performance makers and curators from a variety of disciplines. It provides a vital opportunity for performance makers in Ceredigion to gain performance experience and explore their own and others process of developing work.

Response Time: Pilot Light. Image by Keith Morris

Response Time: Pilot Light. Image by Keith Morris

Sandra Bendelow the Response Time producer said, “We were invited along by Guy O’Donnell from the Response Wales project to work alongside his Young Critics responding to Artes Mundi and we are really excited about facing this new challenge. Previous projects have allowed between 48 hours and ten days for participants but this will give us barely 24 hours so it will have to be an immediate response to the work, space and environment. We never know what will be produced. It crosses disciplines and merges art-forms combining physical theatre, text, art, sound, movement, comedy. We have only ever worked in the Gas Gallery which is a small, intimate, space that we became very at home in but at Artes Mundi 6 in the National Museum Wales, everything will be bigger, the art, the space and yet we have less time – it is going to be a real challenge but we’re all really looking forward to it. For the audience they will be seeing something which is very live, raw and a very real response to the work.“

Hayley Addis asked the audience to look through the windows of the art

Response Time. Image by Keith Morris

Participants include Naomi Heath who is a bi-lingual, inter-disciplinary performance artist who recently exhibited at Moma Wales as part of Cymylau Tystion/Clouds of Witness, James Baker an emerging performance maker with his unique and indefinable exploration of textual, physical and comic response, Hannah Pullen a recent graduate of Coleg Ceredigion currently studying at Aberystwyth University’s Department of Theatre, Film and Television Studies, Sandra Bendelow an inter-disciplinary scriptwriter and producer, Mar Shro Gora a performance artist who works with self documentation and time, Lara Ward a theatre practitioner and choreographer and Petra Barberini a cross disciplinary creator.

Petra Barberini said, “The Response project at the Artes Mundi provides a great challenge to create with a team of like minded artists within a 24 hour period. I’m thoroughly looking forward to discover what will be born from this experience.  For the audience I’m hoping for a gem of insight into our everyday life. A gem to be treasured and remain as a fleeting memory of that moment at the Artes Mundi. I have no idea where will the space and artists lead us? ”

Response Time is currently looking to find new gallery spaces throughout Wales in which to work on a week-long residency responding to art, space and environment. For more information about Response Time contact

The performance will be at 1.05PM on 30th October in the National Museum of Wales as part of a series of lunchtime performances taking place throughout Artes Mundi 6. The event is free.

Crash Test scratch night

Scriptography Productions is very pleased to be hosting the latest Crash Test scratch night at Aberystwyth Boat Club Bar on Thursday 25th September 7.45PM

Crash Test scratch night offers a perfectly informal and fun environment which encourages writers new to writing for performance and more experienced writers to share work in its earliest stages of development. As well as providing an opportunity for Aberystwyth Arts Centre’s Writing for Performance Group to stage work at this bi-monthly event, Crash Test has also begun to attract writers from other areas such as comedy,  performance poetry and spoken word.

There is an Open part of the evening which is open to anyone to share their writing or performance.

The evening will be MC’d by James Baker with his usual incomparable and indescribable mix of comedy, writing, performance and occasionally dance!

If you are interested in taking part in this or future scratch nights contact or pop along and say hello.


Reasons why you shouldn’t – and should go to see Flowers of the Dead Red Sea

1653796_231049150413301_1210512899_nI’m very excited today. I’m excited because tonight I’m going to watch Run Amok’s fourth production Flowers of the Dead Red Sea written by Ed Thomas which is being performed by Rhodri Brady and Matt Christmas. I’m excited because having seen two of their first three productions I am waiting with baited breath to see what this company are going to do next.

Now quite a lot of you are going to ask some questions after the first paragraph – Who are Run Amok? Who is Rhodri Brady? Who is Matt Christmas? Also worryingly a lot of people, even in Wales are going to say – who is Ed Thomas?

Let’s deal with the easy one – Ed Thomas is the co-creator, executive producer and writer of Hinterland. Yes that Hinterland, the one that everyone is talking about at the moment because it was filmed in Ceredigion and is ambitiously setting its sight to be the new Nordic- noir thriller. Who would have thought five years that Nordic noir thriller would be a genre?

I should state at this point that you shouldn’t go to see Flowers of the Dead Red Sea because you like Hinterland or Nordic noir thrillers, it is not Hinterland – there is no detective, no murder mystery – there is however two butchers in an extremely funny and absurdist drama.

Now long before Ed Thomas began to focus on television and film writing he was a playwright – he was a playwright in the 90’s in Wales, he created his own theatre company and then he gave up on theatre in Wales and headed to the safer world of television and film. You can’t really blame him – playwrights are ignored, playwrights aren’t produced, playwrights don’t have their voices nurtured – in Wales anyway. This genuinely is an extremely rare opportunity to see a play by Ed Thomas – it hasn’t been produced in over 20 years.

So Run Amok – who are they? Founded by Artistic Directors Izzy Rabey and Jonathan Patton – Run Amok has been on an impressive trajectory of performing ambitious, complex and challenging texts. They are a student company – a company of recent graduates, Jonathan is currently in London studying for an MA and Izzy is about to head to London to do an MA. Now though the ground is heavy with student companies in towns and cities with theatre departments, and those student companies walk through the ashes of student companies which have walked there before – from those ashes emerge the companies of the future. As far as I’m concerned that phrase emerging theatre – that’s where it’s from – it’s the companies that make it through those first few years of being a student company. I have absolutely no doubt that Run Amok are going to become one of the leading voices of Welsh theatre  – well they will be if we give them a reason to be, if we support them and nurture them. It is really hard being an emerging company in Wales, people don’t know the company, they dismiss them as yet another young student company. But Run Amok are different- they have one foot in London and one foot in Wales – though admittedly that foot is Izzy Rabey’s extremely rooted foot.

The foot in London is a good thing too because they have forced the work of a Welsh playwright into a theatre in London –  Welsh written and produced theatre is very rarely seen in London. Let’s face it it’s rarely seen in Wales. It is barely – if ever seen outside of Cardiff. Welsh theatre companies touring work – you can count them on one hand. Welsh companies touring work by Welsh writers – I’m really struggling now. Yes there are exceptions but as someone working and writing within the theatre industry in Wales – I really hope we can find our way to more than exceptions. But don’t go to watch Flowers of the Dead Red Sea because you want to support one of the exceptions – though that is a good reason to see it.

Run Amok are a company to be watched –not only in a watch a meteoric rise as you read reviews and articles about them over the next few years – but as an experience of live theatre. Live theatre which is guaranteed to make you laugh and think. Most importantly live theatre which will include performances from Rhodri Brady and Matt Christmas. This is the thing which excites me the most about going along tonight to see Flowers of The Dead Red Sea – I literally can’t wait to experience the chemistry between these two amazing performers. Performers who are new,  magically untrained and untarnished , and offer so much promise for exciting futures, put them together with the words of Ed Thomas , the direction of Izzy Rabey, scenographic design from Maisie Baynham and sound designed by Kyle Arrowsmith and you are absolutely guaranteed an amazing experience of emerging theatre at its very best.

Flowers of the Dead Red Sea by Ed Thomas, by Run Amok is at Aberystwyth Arts Centre 1st May, Rosemary Branch Theatre 8th and 9th May and Royal Welsh College of Music and Drama Richard Burton Theatre 10th May. The Aberystwyth Arts Centre performance includes a post-show talk with Ed Thomas.

Ed Thomas wrote new monologues as trailers for the show which were filmed by Pete Telfor for Culture Colony which you can view on YouTube here
Joe and Mock 

Follow the company at and @TheatrRunAmok

This post is by Sandra Bendelow, producer at Scriptography Productions – she blogs about writing, theatre and engaging new audiences through digital marketing at

Response Time: Replay Me/Adleisio

response time replay meWThe Response Time project began as a pilot project to create performed response to art, space and environment at the Gas Gallery but within six months it has quickly become something far more integral and fundamental to both young, emerging artists in Aberystwyth and the Gas Gallery as a space from which creativity can be built.

It is a unique project not only in Ceredigion but in Wales in that it draws together cross-artform and mutli-disciplinary artists and performance makers, giving them an ever-changing artistic and natural environment to which they can produce a performed response within a limited time-frame.

At its heart lies a desire to provide young, emerging artists with a creative platform to develop their performance and process skills, a desire to give the opportunity for less experienced artists to work with more experienced artists to observe different creative process, a desire to create performance in unusual spaces and a desire to create a place where artists can meet and develop new collaborations and partnerships.

The project also works to support the efforts of Celf Ceredigion Art in creating a centre of excellence for artists and for audiences for the arts in Ceredigion promoting the valuable ethos of creating cultural and creative life from empty buildings. Effectively Celf Ceredigion Art is working to make what happens inside the Gas Showroom as iconic as the outside.

Each Response Time has started from an open call to participants – who have included writers, artists, film makers, photographers, actors, performance artists, poets, installations artists, storytellers. The range of people participating is growing whilst also creating a core of people who have participated multiple times. Each time returning participants have been encouraged to approach the project differently – to challenge themselves and their practice, exploring new collaborations and news ways of working.

The event has been curated by a different guest curator each time – so far by a playwright, a playwright/performance maker, an installation artist and a performance artist.

Curators have been drawn from previous participants allowing a curator to experience the project as a participant first.

The curator’s role has been to start the project with a workshop encouraging people to engage with the art, space and environment of the Gas Gallery from a different perspective. The curator then nurtures each piece of work and the participants through the weekend, encouraging themes whilst allowing participants to produce their own work. The pieces are then curated into an hour of performance to explore the way the audience engages with the pieces as individual pieces and as an overall piece of integrated performance.

This week Response Time will be resident in the Gas Gallery from 4th April until the 12th April producing three projects.

Live and digital performed responses to the work of Annie Morgan Suganami. Participants will be given the whole week to respond to the work to explore what happens if the 48 hour restriction is removed and participants can explore the work in their own time-frame.

Previous participants have been given the opportunity to re-examine work produced in previous response time project. They will be exploring themes which may have emerged over several responses alongside the question of whether their work can exist without the art it is responding to as a backdrop.

In a Gallery
A five-day resident collaboration between Sandra Bendelow, Lara Ward and Nick Jones exploring the text responses created through past responses by Sandra Bendelow whilst creating new responses together to the work of Annie Morgan Suganami. They will be placing words, sound and movement into the gallery and responding to the responses. They will be working with Cêt Haf, Milly Jackaw and Gwion Llyr.

The work produced by all three projects will be shared with audiences as an hour long performance on Saturday 12th April. 5.30PM and 8PM