Helena Turgel

Helena Turgel

Treuliais y ddwy flynedd ddiwethaf yn gweithio fel 'intern' curadurol yn Oriel Mwldan, oriel celfyddyd gyfoes yng Ngorllewin Cymru, lle bues i hefyd yn ymchwilio ac yn rhaglennu arddangosfeydd.

Yn ystod fy nghyfnod yn y Mwldan, cynyddodd fy niddordeb yn y syniad o gyflwyno celfyddyd gyfoes i gynulleidfaoedd nad ydynt fel arfer yn dod ar ei thraws, a'r posibiliadau a gyflwynir drwy osod gweithiau ac arddangosfeydd mewn gwahanol gyd-destunau (y tu allan i'r oriel). Arweiniodd hynny yn naturiol at diddordeb yn y Biennale fel fformat, fel cyfle ac fel syniad, ac hefyd at ofyn cwestiynau am ei bwrpas a'i wendidau. O ganlyniad, dw i eisiau archwilio Biennales mewn gwahanol gyd-destunau. 

Yn gynharach eleni, bûm yn gweithio yn Sri Lanka gyda Alnoor Mitha, curadur Biennale Celfyddyd Colombo (CAB 2016). Roedd gweld y gwaith a chanlyniadau'r digwyddiad hwnnw yn brofiad gwerthfawr, felly hefyd y cyfle i weithio gyda nifer o artistiaid lleol a rhyngwladol.

Latest Posts

20.11.2017 / minuscule movements   →

03.11.2017 / this impossible city  →

31.10.2017 / Mappings thoughts  →

29.10.2017 / salt  →

26.10.2017 / Utopias  →

17.10.2017 / I feel sad for all the lives that I couldn’t live  →

I feel my age. Most of the other invigilators are young. Some really young. Nearly the age I was when I first came to Venice as a 16 year old and was annoyed at the way people pushed and jostled on the vaparetto and wouldn’t move when I politely asked ‘mi scusi’ and got more annoyed when my dad’s friends pointed out that was the wrong ‘excuse me’ for that situation. Was I really that annoyed all the time?   I wonder if I should be here. If this isn’t something that a younger me should have done. My life keeps throwing up situations in which the people around me are much younger, as though I’m trying to either cling to, or reclaim some lost youth. Though not consciously.    People seem to think I’m younger than I am, which is nice at first, then worse. They are shocked by my age. I feel sad for all the lives that I couldn’t live. What weakens the flesh echoes all these thoughts back to me. I see in the film the gentle sadness of ageing. This Bitter Earth.  As a cruel coincidence, Dinah Washington also reminds me of being 16. 

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11.10.2017 / Would similar thoughts have settled?  →

It occurs to me that both Venice and James’ work behave a little like a subconscious. Pinning them down to maps and explanations seems inadequate. But time becomes the thing that seems to make them necessary. Some people come into the venue and want to know what the exhibition is about before investing time in it. On reflection, I would have liked to have experienced the work without any prior knowledge. And then to spend all this time with it. Would similar thoughts have settled? It feels as though I should wander the streets of Venice and not be tethered by maps, but there always seems to be somewhere to be, or an idea of a direction.  A goal then, to wander with true aimlessness one of these Autumn days.     Maps and explanations of the work feel a little like cheating. Cheating or missing the point.  

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10.10.2017 / Dancing light and sound bleed  →

At certain times (and only on a clear, sunny day) the church dances with reflected light from the neighbouring canal.  It dances above the water stained corner of the room, touching the top of the marble altar and not quite reaching the ceiling fresco.  The dancing light seems to play with the soundtrack. It is quite blissful. That’s one of the really affecting things about the exhibition, the way the sounds change the spaces around you, and not just the rooms in which they are sited.  The sound spilling onto the street alters that canal side view. The soundtrack for What Weakens the Flesh, combined with the Music for the Gift videos, becomes utterly mesmeric. And the sounds from the outside bleed in too; no two moments are the same.  

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Prosiect

Bydd gweithio yn Fenis yn gyfle gwych i dreulio amser estynedig yn archwilio'r Biennale; cael cyfle i ymgysylltu â'r arddangosfeydd ac i astudio dulliau curadurol. Bydd hynny'n hynod o werthfawr i mi wrth i mi ddatblygu fy ngwaith curadurol fy hun. 

Ar hyn o bryd dw i'n cychwyn prosiect ar y cyd â churadur lleol arall i geisio rhoi platfform i artistiaid (o'r ardal a thu hwnt) fel y gallant ddangos eu gwaith mewn gwahanol ganolfannau lleol. Y nod yn y pen draw yw hwyluso neu gyfrannu at ŵyl gelfyddydol yn y dref. Ac wedi hynny dw i'n awyddus i weithio ar Biennales a digwyddiadau celf.     

Bydd y cyfle hwn yn Fenis, gan gynnwys y cyfle i ryngweithio gydag amrywiaeth eang o bobl sy'n ymwneud â'r celfyddydau, yn hynod addysgiadol.

Byddaf hefyd yn defnyddio'r cyfle i ddatblygu fy ngwaith ysgrifennu ymhellach wrth ymateb i gelfyddyd a digwyddiadau celfyddydol. Ar hyn o bryd dw i'n ysgrifennu darn am CAB 2016 i gylchgrawn CCQ ac fe fydd y cyfle hwn yn Fenis yn gyfle gwych i ddatblygu'r rhan hon o fy ngwaith.