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sadia pineda hameed

@sadiaph

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🇵🇭 🇵🇰 artist n writer / solo show @ the box plymouth feb-june ‘26 / jarman award shortlist ‘26 / wilhelmina barns-graham porthmeor studios award ‘26

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Announcing works to be featured in week 3 of @sine_screen's takeover at @ydp_space ᴄᴏʀʀᴜᴘᴛ ᴄᴏᴘɪᴇꜱ, (ᴍᴜᴛᴇᴅ) ꜰᴏʀᴍꜱ gathers a group of experimental and artist films that return to corrupted media forms to trace the latent histories and speculative connections they continue to hold. Screening from 14 - 18 July (on loop)Across state broadcasts, neglected film stocks, game worlds and algorithmic media, familiar infrastructures are inhabited from within, their logics quietly interrupted and rewritten. These works linger with the ambiguities opened up by gaps and distortions, following the muted voices and alternative political imaginaries that emerge through these ruptures.Films𝐀𝐟𝐭𝐞𝐫𝐧𝐨𝐨𝐧 𝐇𝐞𝐚𝐫𝐬𝐚𝐲 | 𝐏𝐞𝐧𝐠 𝐙𝐮𝐪𝐢𝐚𝐧𝐠 | 𝟐𝟎𝟐𝟓 | 𝟏𝟗’ | 𝐂𝐡𝐢𝐧𝐚, 𝐔𝐊, 𝐈𝐭𝐚𝐥𝐲𝐄𝐚𝐬𝐭 𝐓𝐢𝐦𝐨𝐫𝐞𝐬𝐞 𝐒𝐡𝐚𝐩𝐞𝐬 | 𝐏𝐚𝐬𝐭𝐢𝐧𝐚𝐜𝐚 𝐕𝐢𝐝𝐞𝐨𝐭𝐚𝐩𝐞𝐬 𝐏𝐥𝐚𝐧𝐭𝐚𝐭𝐢𝐨𝐧 | 𝟐𝟎𝟐𝟓 | 𝟏𝟐’ | 𝐇𝐨𝐧𝐠 𝐊𝐨𝐧𝐠, 𝐊𝐚𝐳𝐚𝐤𝐡𝐬𝐭𝐚𝐧, 𝐒𝐰𝐢𝐭𝐳𝐞𝐫𝐥𝐚𝐧𝐝𝐓𝐡𝐞 𝐒𝐨𝐧𝐠 𝐨𝐟 𝐌𝐲 𝐋𝐢𝐟𝐞 | 𝐒𝐚𝐝𝐢𝐚 𝐏𝐢𝐧𝐞𝐝𝐚 𝐇𝐚𝐦𝐞𝐞𝐝 | 𝟐𝟎𝟐𝟎 | 𝟏𝟎’ | 𝐔𝐊𝐌𝐮𝐭𝐞 | 𝐘𝐮𝐧 𝐄𝐮𝐧𝐤𝐞𝐨𝐧𝐠 | 𝟐𝟎𝟐𝟓 | 𝟏𝟗’ | 𝐒𝐨𝐮𝐭𝐡 𝐊𝐨𝐫𝐞𝐚𝐀 𝐌𝐞𝐭𝐚𝐦𝐨𝐫𝐩𝐡𝐨𝐬𝐢𝐬 | 𝐋𝐢𝐧 𝐇𝐭𝐞𝐭 𝐀𝐮𝐧𝐠 | 𝟐𝟎𝟐𝟓 | 𝟏𝟔’ | 𝐌𝐲𝐚𝐧𝐦𝐚𝐫 by @sadiaph

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14 days ago

i have been shortlisted for the 2026 Jarman Award !!! alongside three very very incredible filmmakers i very much admire, Ilona Sagar @ilonasagar Rhea Storr @rheastorr and Alia Syed @aliasyed2025 💐 thank you @film_london !i am so grateful for the folks who have supported my recent moving image projects - the lush Moving Sound lot @sophielindzey @kurtriddellcamera @sionmwaters @sam_baraitser_smith @rowanholownia (supported by @llantarnam_grange @celfcymruarts @museumwales and the big pit) ; @_zahrakhanum_ @tonyd40 and the film/tv archive team at @theboxplymouth for support with Anak Where Did We Stay?; @alixbeeston and @thatmeena for their workshops on the ‘unfinished’, helping me to resolve (or not resolve!) my hi8 works; @cinesamara and @not.nowhere for building my confidence with 16mm; my dad for being the archivist!, my mum for being the centre of my stories so very often!; @farahallibhai for always watching my rough cuts!!; and @angelina.radakovic for nominating me for the award / supporting my practice for so long <3 i love moving image and cinema, listening to archives, cutting them up into things implacable, dreaming about films i might never make, making home movies just to show friends one day. i am also totally in love with derek jarman and his work. that’s all to say i am feeling so proud and fulfilled by being selected for the shortlist 🥲 by @sadiaph

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a month ago

In preparation for our upcoming event, Ghost in the Karaoke Machine, we’ll be sharing some of Sadia Pineda Hameed’s (@sadiaph) previous works.First up is Tiny Bubbles in the Wine (2019), a collage film that explores her mother’s experience of migrating from the Philippines to the UK. The film mimics the style of a karaoke video while the narrative unfolds through felt connections and associations: from a story the artist’s mother told about bubbles in her drink, to Filipino artist David Medalla’s Cloud Canyon sculptures.The story is sweet yet there is uneasiness in its telling. Like a bubble about to burst, or sea froth about to hit the shore, the more difficult stories of loss, loneliness, and disconnection from home soon follow.The full film can be viewed online via the much-missed @hoaxpublication (link in bio).And don’t forget to book your ticket for Sadia’s event on Tuesday 30 June at 6pm (Headfirst/link in bio). by @sadiaph

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2 months ago

In response to the sonic histories of the Goethe-Institut site in 798 Beijing, this event features a screening programme that brings together the works of artists Riar Rizaldi (@riarrr) Sadia Pineda Hameed (@sadiaph) and YoungEun Kim (@youngeunkiim). The programme explores the tensions between two forms of listening, a collective, organised listening mediated through state and colonial infrastructures of broadcasting; and listening as a private or fugitive practice emerged from alternative circuits of transmission. From curfew sirens, public address systems, radio stations to DIY receivers, these works consider how sound technologies configure political imagination, while also opening unexpected channels for the circulation of unfinished histories. 🦻🏼 The evening concludes with a shortwave listening experiment across the 798 and 751 site, part listening exercise, part speculation around how signals travel across borders and reach unintended listeners. —————————作为对歌德学院所在地798声音历史的一次延伸回应，本活动结合了共听，放映与艺术家对话，围绕集体聆听与私密聆听之间的张力展开。活动展映的三件艺术影像作品，分别从不同历史切入并共同关注声音的传播如何连接起不轻易可见的政治历史：从朝鲜半岛冷战语境下的广播与宵禁警报、印尼殖民时期的无线电发射站，到威尔士矿区工人借由地下广播所延续的抗争行动。在广播、警报等集体声音基础设施之外，无线电也长期被想象为一种游离于既定秩序之外的媒介，穿越边界与线性时间，也打开潜在的抵抗空间。Sat 30th May 19:00 - 22:00at @goetheinstitutchina Curated and hosted with @moleonmoss @_retseh Part of Sonic Other__lands, an exhibition and public programme series exploring how sound carries alternate histories of land, water and resistanceBackground image credit: Moving Sound (2025), Sadia Pineda Hameed by @sadiaph

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2 months ago

moving sound! two exhibitions! three film fests! two wins! nice :) by @sadiaph

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2 months ago

🎤 Sound Event Announcement 🎤 Ghost in the Karaoke Machine 🎤Join us on Tuesday 30th June for an evening with artist Sadia Pineda Hameed, unpacking the colonial echoes that can be heard in Filipino music. Sadia’s mum came to the UK in the 1970s to work as a nurse and found community by joining a dance troupe, Lei Aloha, performing Filipino and Hawaiian music across the UK. Starting with her memories of Lei Aloha, Sadia will explore the sounds of the Philippines, from the rise of Kundiman - a form of love ballad that emerged under Spanish colonial rule - to the rise of Hawaiian music, popular amongst the American soldiers and migrant workers who moved back and forth across the pacific. Throughout the evening, we will discuss karaoke - a national pastime in the Philippines - as a postcolonial strategy; how renditions allow us to hold both our own stories and the echoes of the past.The conversation will be accompanied by projections, drawn from Sadia’s artworks and archives.Tickets are on a sliding scale from £6-8, available via Headfirst (link in bio). Please book early - if we sell out quickly we’ll add a second show. by @sadiaph

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2 months ago

MMMM NOTE, Billboard Gallery | Yr Oriel Bwrdd PosteriYou have just one month left to see MMMM NOTE, by artists Sadia Pineda Hameed and Kerstin Kartscher.Developed after research at the Robert Owen Museum in Newtown, this work acts as a speculative voucher from a future, where value is measured through irrational, ‘delirious’ modes of intuition, belief and conjuring.The enlarged drawing is a playful counterfeit, deconstructing value as imagined rather than issued. It takes its title from David Medalla’s MMMMMMM…Manifesto (1965), in which the artist dreams of ‘sculptures without hope, with waking and sleeping hours.’.This video shares some of the ideas and experiences collected at the opening event. Filmed, edited, and produced by Redbrck @redbrck MMMM NOTE is part of Perspective(s), a collaboration between Arts Council Wales and National Museum Wales, supported by the Welsh Government.Stay tuned for artist announcement and new artwork coming soon… ***Dim ond mis sydd ar ôl gennych i weld MMMM NOTE, gan yr artistiaid Sadia Pineda Hameed a Kerstin Kartscher.Datblygwyd MMMM NOTE yn sgil ymchwil yn Amgueddfa Robert Owen in Newtown, Owen yn Y Drenewydd, ac mae’n gweithredu fel taleb hapfasnachol o ddyfodol lle mae gwerth yn cael ei fesur trwy foddau greddf, cred a chonsurio afresymol, ‘dryslyd’.Mae'r darlun mawr yn ddarn ffug chwareus, sy'n dadadeiladu gwerth fel rhywbeth a ddychmygwyd yn hytrach nag a gyhoeddwyd. Daw'r teitl o waith David Medalla MMMMMMM…Manifesto (1965) gan David Medalla, lle mae’r artist yn breuddwydio am ‘gerfluniau heb obaith, gydag oriau effro a chwsg’.Mae'r fideo hwn yn rhannu rhai o'r syniadau a'r profiadau a gasglwyd yn y digwyddiad agor. Ffilmiwyd, golygwyd, a chynhyrchwyd gan Redbrck @redbrckMae MMMM NOTE yn rhan o Safbwynt(iau), sef cydweithrediad rhwng Cyngor Celfyddydau Cymru ac Amgueddfa Cymru, gyda chymorth gan Lywodraeth Cymru.Cadwch eich llygaid ar agor am y cyhoeddiad artist a'r celfwaith newydd sydd ar ddod..... @sadiaph @kerstinkartscher @museumwales @celfcymruarts by @sadiaph

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3 months ago

🌺🌊 two months left to see my film commission Anak Where Did We Stay? 2026. hi8 and archival film (16min), five channel installationThe Box, Plymouth14 February - 14 JuneAnak Where Did We Stay? is a multi-channel film by Sadia Pineda Hameed that brings together The Box’s home movie collection and the artist’s personal/family collection. Rasheed Araeen’s chakras, spouting waves, Beatlesmania, a basking shark, hula dance, an Enoch Powell protest, tidal islands and seafoam floating into the air—the archives converge across time to tell the story of the artist’s mother’s migration from one archipelago to another: the Philippines to the British Isles.The film becomes a gathering site for personal and collective experiences of journeys, resilience and belonging. Road trips unexpectedly reenact the archive, footage finds itself out of context, voices commentate the film as if rewatching a home movie together; mimesis, associations and autonomy are central to the retelling.As camcorders became more accessible from the 1970s onwards, home movies were an unconscious means to rebuild personal archives after colonial displacement, extraction and erasure. Anak Where Did We Stay? sits in dialogue with the @nationalportraitgallery tour of Sir Joshua Reynolds’ Portrait of Mai (1776), depicting the first Pacific Islander to visit Britain; considering how stories of movement are held and reimagined beyond institutional representations.Anak Where Did We Stay?, named after a home movie in The Box’s archive titled Perranporth Where Did We Stay?, unfolds as a conversation between the artist and her mother, exploring the three interconnected journeys of migration, holidays and recollection.Archival footage courtesy of the South West Film & Television Archive and Asad Hameed. Produced as part of The Box’s Reimagining the Film Archive programme. Supported by @theboxplymouth , @britishfilminstitute Screen Heritage Fund, the National Lottery and Arts Council England. Special thank you and big hugs to @_zahrakhanum_ 💙 Installation photos: @ddoommmmoorree by @sadiaph

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3 months ago

I’ve been invited to read from my new piece Memory Beds (edited by the wonderful @alysconran ) in Folding Rock issue 004 at (Re)Telling Wales - Wednesday 27 May 2026, 8.30pm – Spring Stage @hayfestival with @foldingrockmag !‘Come and celebrate Wales, land of legend and song, known for its stories that span countless generations – and a place where, out of this rich heritage, new tales are always being told. In this unique and immersive evening of stories and song illuminating work steeped in Welsh culture and history, writers Tom Bullough, Lucie McKnight Hardy and Sadia Pineda Hameed tell new stories from Wales, including specially commissioned work from the latest issue of Folding Rock magazine. They are stories inspired by folklore, and salute today’s blooming creative landscape.’and please read more abt @fossilfreebooks call on Hay Festival to refuse funding from airbnb on their IG. as a reader at this event I also call on the divestment of funding and hope to see this happen before the festival takes place, because as much as I would love to read from my new piece which I’m super proud of, I will not be complicit in supporting / support from a company that actively profits from and enables the occupation of palestinian land 🇵🇸 UPDATE: v sad 2 say i’ll be dropping out of this lovely event due to @hayfestival ‘s support from @airbnb , after some email exchanges with Hay Fest and their unwillingness to cut ties with Airbnb who are complicit in / facilitate the occupation of Palestinian land - ironically supported by Airbnb for their Room To Write award whilst their company actively displaces Palestinian writers / people from their own homes in the West Bank. by @sadiaph

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4 months ago

going to speak ill of rome tonight along with some other short bits of writing incl a poem i had in the last issue of @xeno_futurism i never posted abt :)Speak Badly with @samhaslerart and @paciluca Bacareto31st MarchDoors, 7:30Event, 8pm - 9pmFree but booking required (eventbrite link in sam’s bio) by @sadiaph

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4 months ago

🔊⚒️ Four chances to catch Moving Sound: at my solo exhibition Senyals at @tangent_projects (Barcelona, until 27/03), @wowfilmfest (Aberystwyth, 27/03), @alchemyfilmandarts (Hawick, 03/05) and @focuswalesfilm (Wrexham, 08/05) ⚒️🔊Moving Sound (8min) speculates upon convergences of labour action across space and time, as well as histories real and imagined. Proceeding from present-day organising around miners’ strikes, the film considers the fictive use of audio technology to transmit strategies for resistance to the workers in and around the coal pits of 1980s Wales, in a para-national gesture of creative solidarity.Super 16, writing, sound design and editing: Sadia Pineda HameedSuper 8: @sam_baraitser_smithVoiceover: Luisa Pineda HameedCamera assistance: @sionmwaters and @kurtriddellcameraSound recording: @sophielindzeyLighting: @rowanholownia and Kurt RiddellColour grading: Kurt RiddellFilm processed with @On8milWith thanks to @not.nowhere, @cinesamara @sound_camp and @llantarnam_grangeSupported by Arts Council Wales @celfcymruarts , Amgueddfa Cymru - National Museum Wales @museumwales and the Welsh Government. by @sadiaph

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4 months ago

2026. super 16mm and archival super 8mm film (8min), pewter sculpture, sound installationTangent Projects, Barcelona | 27 February - 27 March | Wed-Fri, 3-7pm @tangent_projects Featuring sound, installation and film works, Sadia Pineda Hameed’s exhibition Senyals (‘signals’ in Catalan) explores connections between Wales’ history of mining and strike action and wider global histories of resource extraction and solidarity movements.Focusing on histories of mutual support between Welsh miners and republican fighters during the Spanish Civil War, the exhibition moves between Wales and Catalonia to consider how voices, signals and covert communications carry solidarity across distance, time and borders when bodies cannot.The exhibition includes metal sculptures (Long Distant Calls), moving image work (Moving Sound), and a new sculptural sound work (It Belongs Not Only To Us). This new work brings together recordings of black singer, actor and activist Paul Robeson’s transatlantic transmission to Welsh miners, his speech and performance to republican fighters during the Spanish Civil War and oral testimonies from Welsh miner brigaders who fought alongside Catalonians. Through this work, Sadia connects these moments of solidarity across sound, geography and temporality, thereby bridging Wales and Catalonia.Also on display are a collection of personal and solidarity pins/badges, inspired by those seen during Sadia’s research and metal casting workshops at the Big Pit, Blaenavon.Curated by Tsering Frykman-Glen @tseringfgSupported by Wales Arts International’s International Opportunities Fund, Arts Council Wales @celfcymruarts and Amgueddfa Cymru - National Museum Wales’ @museumwales Perspective(s) and the Welsh Government.Images: @tanyazommer by @sadiaph

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4 months ago