sadiaph@gmail.com
@sadiaph

b. 1995, London
Living in Cardiff, Wales

Sadia Pineda Hameed is a Filipino/ Pakistani artist and writer based in Cardiff. She works in film, installation, text and performance to explore collective and inherited trauma; in particular, the latent ways we speak about this through dreaming, telepathic communion and secrets as an anti-colonial strategy inherent to us. Her practice is led by semiotic and associative journeying, and a trust in the intuitive process.

She often works with Beau W Beakhouse (beauwbeakhouse.com) as a collaborative duo based in Cardiff, Wales, whose practice dramatises, reconstructs and reenacts autonomous and alternate futures. their work often takes the form of speculation, resistance and site-building at the intersection of performance and installation. In particular they continuously engage with text and the archive, undoing and disassembling relationships between language and colonialism; and unfolding processes of decay and disassembly as alternatives to western models of preservation. They look to revivification, working against the static categories of institutional models. Together they are on the Freelands Fellowship 2022-4, and run collective, small press and radio project LUMIN (lumin-press.com).

AWARDS

Freelands Fellowship 2022-4
The Arts Foundation Futures Award longlist 2022
Paul Hamlyn Award for Visual Artists recipient 2021
Literature Wales New Writers Bursary and Mentoring recipient 2020
Rising Star Wales Award 2020

SOLO EXHIBITION

2023
forthcoming, Catalyst Arts, Belfast

2022
‘(misunderstanding), (accomodation), (performance), (loss)’, Brent Biennial 2022, In the House of my Love, in partnership with Build Hollywood and Studio Voltaire. Produced by Metroland Cultures

2021
‘it resonates like spalting wood’ with Beau W Beakhouse, Arcade/Campfa

2020
‘Song of My Life’, Bluecoat Liverpool

‘Local 37’ with Beau W Beakhouse, MOSTYN

‘tiny bubbles in the wine’, HOAX

GROUP EXHIBITION

2023
forthcoming, Freelands Space, London
forthcoming, g39, London

2022
Thinking Green, Glynn Vivian, Swansea

I Watched in Amazement, curated by HOAX, The Mosaic Rooms, London

2021
The Mobile Feminist Library: In Words, In Action, In Connection, MOSTYN, Llandudno

Jerwood UNITe open studios, g39, Cardiff

2020

(un)seen (un)heard, National Museum Cardiff

2019
Made in Roath Open, g39

A New Mecca, Gentle/Radical, Cardiff

2018
Analogue, Three Doors Up (Arcade/Campfa)

RESIDENCIES

2022
residency at The Museum of Applied Arts (Poznan National Museum), Poznan

Platfform, Peak Cymru, Abergavenny

2021
Unidee, Cittadellarte - Fondazione Pistoletto, Biella

Tangent Projects, Barcelona

Jerwood UNITe, g39, Cardiff

Catalyst Arts Spring Online Residency, Belfast

2020

Hinterlands, Peak Cymru

Hunan-Iaith poetry and translation residency, Where I’m Coming From and Y Stamp, supported by Literature Wales

2019
WARP Library Residency, g39, Cardiff

Ty Newydd Emerging Writers, funded by Literature Wales and Wales Arts Review

Curatorial Residency, SHIFT, Cardiff

2017
LUMIN Library residency, Three Doors Up (Arcade/Campfa), Cardiff

PERFORMANCE

2022
forthcoming with Jerwood Staging Series, Jerwood Space, London

2021
‘Borrow Tomorrow’, The Mosaic Rooms, London

‘PAMPHLET BOMB’, Chapter Arts Centre, Cardiff

‘speculation’, Jerwood UNITe open studios, g39, Cardiff

2020

‘return etc’, Digithon Festival, arts headliner, Wales Arts Review, online

2019

featured poet, Where I’m Coming From, g39, Cardiff

‘Bearing Witness to Truth’, National Museum Cardiff and Artes Mundi, Cardiff

2018
‘The Crypt’, Gentle/Radical’s A New Mecca, The Temple of Peace, Cardiff

‘Decolonising Heritage’ with Gentle/Radical, Bay Arts, Cardiff, commissioned by the Eisteddfod & the National Trust

featured poet, Porridge, Theatre Deli, London

featured poet, Women & War: An Un-silencing, commissioned by Gentle/Radical, The Open University and Festival of Voice

PUBLICATION

2022
HON: Women Artists in Wales, H’mm Arts Foundation Press

UTYPIA, Oriel Davies Gallery

2021

Merched yn Gwneud Celf zine, Eisteddfod

feature in ‘Welsh experimental writers’ article, Poetry Wales 57.1 Summer 2021

DOUBLE, Takeaway #9

Imagining Internationally Connected Practice (consulting artist), Arts Council Wales

2020

Undefining the Artist, Wales Arts Review

‘Dismantling Structural Inequality in Your Cinema’, BFI

LOVE Magazine, Love Diaries vol. 1

‘After ‘Evening’, Kurt Schwitters’, ZARF #14

2019
‘Tortang Tolang’, Porridge Magazine: Comfort Foods

‘Site Ruin’, Amberflora Issue 6

interview, Wide Vicinity

2018
Save Our Sculpture’, Wales Arts Review

‘Enshrinement’, LUMIN

‘For you, after a film’, Porridge Magazine Issue 1

'To (Un)speak Madness re: Derrida, Foucault, Artaud', LUMIN Journal 1

TALKS

2022
forthcoming, ESEA artists in Wales roundtable

visiting artist, Cardiff Metropolitan - Fine Arts

2021
HerStories // Shelf Life, Iniva

Dismantling Structural Inequality In Your Cinema Talk, Glasgow Film Festival (2021), This Way Up Festival (2020)

2020
Women in Publishing Symposium panelist at Bangor University

2019
guest critic, BBC Radio Wales’ Arts Review Show

interview, Wide Vicinity

‘Dis/establishing the archive’, Archiving Gender symposium paper presentation, Cardiff University

2018
Gentle/Radical’s Imagination Forum #4, symposium at Sustainable Studios, Cardiff

 

WRITE FIFTY WORDS


2019. installation

group show. Work based on Vladmir Zykov’s process experiment ‘I was told to write fifty words’ (2008) using Amazon’s ‘mechanical turk’, with permission from the artist.

Communion, SHIFT, Cardiff

For I Was Told to Write Fifty Words, Vladimir Zykov employed the services of Amazon’s Mechanical Turk (an online labour pool specializing in repetitive tasks paid piecemeal) to create a work conceived of but not written by himself. On the job board, he gave the simple instructions: “Write fifty words.” Offering a payment of one cent for every fifty words received, he was able to “write” each poem for one cent; the project was finished when Zykov had collected 500 sets of words, costing him a total of $5.00. The final work is completely unedited by Zykov.

Although Zykov touches on a number of issues here, most prominent is the concern with modes of production, labour, and value: What is the value of language? Can poetry be farmed out by proxy? Is there a mode of production for poetry that follows capitalist models? Almost Warholian, Zykov imagines a textual factory. His plan is far-reaching: eventually he hopes to commission a range of full-length works written in this manner, spanning every literary genre, from sci-fi to detective novels and cookbooks.

Sadia Pineda Hameed restaged ‘I was told to write fifty words’ in an exhibition setting, offering one penny as a fee, alongside participation in the group show. The following line was given to each participant to put onto their arts portfolio / CV if they wished: Group show. write fifty words, Communion, SHIFT. Cardiff, 2019. Commissioned by LUMIN. The restaging interrogated labour in the arts, considering what condition or environment might create a more equitable exchange, when monetary exchange within institutions fail to value labour sufficiently.