"Ghosts In Armour" de Janire Nájera & Matt Wright

8/12/2019 "Ghosts In Armour" de Janire Njera & Matt Wright

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Dylan Thomas


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Copyright 2010 `Ghosts in Armour

Edited by | Editado por | Argitaraturik

`Ghosts in Armour, 1 Robbins Lane, Newport , Wales, NP20 1EZ, UK

[email protected]

www.ghostsinarmour.com

Published by | Publicado por | Argitalpena

Fundacin Bilbao Arte Fundazioa, C. Urrazurrutia 32, 48003 BILBAO

Tel.: 0034 9 44 155 097

[email protected]

www.bilbaoarte.org

Concept, Editorial & Art Direction | Concepto, Edicin y Direccin Artstica | Kontzeptua, Edizioa eta Zuzendaritza Artistikoa

Janire Njera & Matt Wright

Design | Diseo | Diseinua

Armin Seltz

Editorial Assistance | Asistente de edicin | Edizio-Laguntzailea

Kenneth Trayner

Translations | Traducciones | Itzulpenak

Uxune Iriondo, Anna Gruffyd & Janire Njera

Printed by | Impreso por | InprimaketaCroman, Irua, 1 Bis, 2 Dptos. 12 to 15. 48014, Bilbao, Spain

www.croman.es

All ri ghts res erved. N o part of this publi cation m ay be reproduce d in a ny manne r witho ut permi ssion.

Todos los derechos reservados. Esta publicacin no se puede reproducir sin autorizacin.

Eskubide guztiak gordeta. Argitalpena ezin da baimenik gabe berrekoitzi.

This bo ok is of a first edition of 600, produced to coincide with the `Ghosts in Armourexhibition at the Fundacin Bilbao Arte (11th June to 2nd July 2010)

Este libro es de una edicin de 600, producido para la exposicin `Ghosts in Armouren la Fundacin Bilbao Arte Fundazioa (del 11 de junio al 2 de julio de 2010)

Liburu hau 600eko ediziokoa da, Ghost in Armour erakusketarako egina, Bilbao Arte Fundazioan (2010eko ekainaren 11tik uztailaren 2ra)


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Transient Reections - WrightGeorge, 2008


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Lavidadunartista

ChainsofTime&BlastReection

Streetlight&SilentSpots

InterpretationsofSteel

SpendingTime

Ispilutik

FloatingMemorials

SomewhereElse

Aquesdondepas

Worn

SuitedMemories

T h A t f A

i

CeliaJackson

MattWright

ChristianKampschroer

TomHardy

KatjaIllner

IgnacioFernndez

KennethTrayner

JamesMilne

JanireNjera

MartinBrowning

SusanaMota

A i S l t

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TransientReections

AP1,2,3

Visionuptheironmile

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Ithappenedhere

RollingStill

EnvironmentalSounds

Forgedinmansmineral

Short-Lived(Polaroids)

Traces

lightgiven

25Workers

InteriorBare

TransitoryState

SteelSpectres

PaDdelweddauRuodd

SmallObjectsofDesire

LastBreath

WrightGeorge(MattWrigh

t&ChrisGeorge)

MartynWebb

RichardCrandon

LinzieElliott

JanireNjera

JayDyer

GrahamAcidic

RichardCrandon

JamesMilne

MattWright

CeliaJackson

ClareSkidmore

MattWright

TimLawrence

JanireNjera&MattWright

SinMelangellDafydd

JayDyer,ChrisGeorge,Jan

ireNjera&MattWright

TerryAnderson&KieronKinsey

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SouthWales|

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eGales|

GalesekoHegoaldea

Introduction

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ueCountry

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GwladYBasg

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elshSteelIndustry(English)-RobertProtheroeJones

Whiteheads,Llanwern,EbbwVale&Port

Talbot

Welshartresponses|Ymatebioncelfydd

ydCymru|ObrascreadasenGales

|Galeseneginikolanak

Altos

HornosdeVizcaya&Zorrotzaurre

Basqueartresponses|Ymatebioncelfy

ddydGwladyBasg|

Obra

screadasenelPasVasco|EuskalHerrianeginikolanak

Exhib

itions|Arddangosfeydd

|Expo

siciones|Erakusketak

Rad

ehierro(espaol)-IakiUriarte


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Ghosts in Armour is a multi-disciplinary artistic

exploration of Europes declining steel industry. It

documents the losses currently shaping a number

of communities, investigating the tangible traces

of industry with the aim of preserving the non-

physical elements of industrial heritage; the stories,

urban legends and memories accumulated over

several working generations. Our curatorial agenda

is to focus a diverse group of international artists on

the industrial spaces and associated communities

of three regions; South Wales in the UK, Bilbao in

the Basque Country of northern Spain and the

Ruhrgebiet region of Germany.

Emerging from a belief in artistic practice as essentially

a practice of aesthetic translations, our purpose

is to foster connections between each regionalcontext, their communities and institutions, to study,

and encourage further study of the accelerated

development of post-industrial European societies

and the consequences of the inherent industrial

decline.

We are extremely privileged to interact with the

often restricted sites each region offers, and as a

consequence it is important that the exhibitions,

publications and interactive elements we develop

disseminate the knowledge and experiences of

industrial workers and former employees.

Today the project operates on a truly international

scale, but it began as a very specic and personal

response to the Whiteheads steelworks in central

Newport, South Wales. Initially, like many artists of our

generation, we were attracted to the sites supercial

beauty. As photographers our love of colour, textureand light drew us to the peeling bright blue exterior

of the factory buildings. We were transxed by the

possibility of exploring its unknown interiors, of

discovering further rust and decay, eager to capture

every aspect of this complex space through our

lenses.

Although the interior did not let us down, we failed

to anticipate the improbably vast scale of the factory.

Exploring the belly of this industrial beast, looking

for good angles to photograph, we discovered a

myriad of human touches; messages written on

walls, desk drawers full of personal items, lockers

with photographs of workers children still attached,

and countless half nished mugs of tea and coffee.

Whiteheads was shut down in 2004, three years

before we visited, and yet it felt as if the people,

who transformed it from a building into the heart of

an entire community, might have only vacated thestructure the previous day.

It quickly became clear that while the buildings

surfaces made our senses sing, it was the multitude

of personal artefacts and human traces that captured

our imaginations. In the end, what was planned as a

single visit quickly became an obsession and many

more visits followed as we tried to see through the

rust and dust for a deeper understanding. By early

2008 we had realised that we could never do justice

to the tangible history and emotive resonance of

the steelworks by ourselves. We started formulating

a plan to invite other artists, working in a variety of

media, to employ additional techniques and creative

eyes.

Ironically, it was around this time that we became

aware that Whiteheads was scheduled for demolition

only six weeks later, forcing us into action to take fulladvantage of what the site offered before it was lost.

During the following weeks a variety of artists were

Introduction


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invited to Whiteheads, free to respond to the building

and its imminent demise in whatever medium or

approach they felt suited. Work produced during this

period became the rst Ghosts in Armour exhibition

at The Riverfront in Newport, receiving over 3000

visitors.

Later, watching the demolition, we came to realise

just how emotionally attached one can become to

a building. It proved to be a painful and awkward

experience for us, and yet, we had only had the

privilege of knowing the space for a mere twelve

months. To understand the emotions felt by a worker

watching the structures collapse into rubble, men

and women who could easily have spent up to

fty years there, was beyond our comprehension.

Realizing that there was great potential to increasethe scale and depth of the projects research aims in a

wider European context, we selected two key regions

to investigate, looking to compare the situation in

South Wales with other European industrial areas

experiencing similar declines.

The Basque Country has a rich industrial heritage

involving the mining of its raw materials and

heavy industries such as steel production located

throughout the region. This created strong hardy

communities who like their Welsh counterparts, have

had to deal with serious social-economic turmoil as

the heavy industries are mothballed and closed in

the face of international competition. Selecting sites

to concentrate on, we were drawn to the former

Altos Hornos de Vizcaya steel factory in Sestao, on the

outskirts of Bilbao. This vast former steelworks, which

employed 40,000 workers, was easily the largest

factory complex in Spain. We also invited artists torespond to the Zorrotzaurre peninsula, which, unlike

Altos Hornos, is home to a large number of industrial

buildings still operating or nearing the end of their

current functions on the eve of a huge regeneration

effort coordinated by Zaha Hadid.

The nal project region, the Ruhrgebeit offers a much

more progressive picture of how to honour industrial

heritage, transforming enormous complexes such

as the Zollverein Coking Plant and mining operation

into an important artistic and cultural space. It is now

recognized as one of the most important industrial

monuments in the world, achieving UNESCO World

Heritage status in 2001. Additionally we intend to

explore Landschaftspark located in Duisburg-Nord,

a large steel production facility converted into a

public park, which maintains its iconic structures

such as the blast furnaces and cooling towers.

Through its reinterpretation it has evolved into aspace that attracts thousands of visitors every year

and is an integral component in shaping the future

representation of Germanys industrial heritage. The

book in your hands represents a survey of work by a

number of artists created for a variety of exhibitions

undertaken over the three years that have passed

since our rst visit to Whiteheads. It documents

creative responses from South Wales and the Basque

Country, and offers a template for future research

we intend to pursue within the Ruhrgebeit. In the

current economic climate the project faces an

uncertain future, strikingly similar to the situation

of the industries that fascinate us, and like their

communities we are determined to continue.

We hope you enjoy exploring as much as we did!

Matt Wright & Janire Njera

Project Curators


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Ymchwil artistig amlddisgyblaethol yw Ghosts in

Armour i ddiwydiant dur Ewrop syn dirywio, yn

dogfennur colledion sydd ar hyn o bryd yn llunio

nifer o gymunedau, yn archwilio olion cyffyrddadwy

diwydiant gydar bwriad o gadw elfennau

anghorfforol treftadaeth ddiwydiannol: y straeon,

y chwedlau trefol ar atgoon a gasglwyd dros sawl

cenhedlaeth weithio. Ein rhaglen fel curaduron

yw canolbwyntio cylch amrywiol o artistiaid

rhyngwladol ar fannau diwydiannol a chymunedau

cysylltiedig tri rhanbarth; De Cymru yn y Deyrnas

Unedig, Bilbao yng Ngwlad y Basg yng ngogledd

Sbaen a rhanbarth Ruhrgebiet yn yr Almaen.

Yn tarddu or gred mai arfer trosiadau esthetig,

yn ei hanfod, yw arfer artistig, ein bwriad yw

meithrin cysylltiadau rhwng pob cyd-destun

rhanbarthol, eu cymunedau au sefydliadau,astudio, a chymell astudio ymhellach ddatblygiad

cyymach cymdeithasau l-ddiwydiannol Ewrop

a chanlyniadaur dirywio diwydiannol hanfodol.

Mae hin fraint or mwyaf i ni ryngweithio r

saeoedd, syn aml yn gyfyngedig, y mae pob

rhanbarth yn eu cynnig ac o ganlyniad maen bwysig

bod yr arddangosfeydd, y cyhoeddiadau ar elfennau

rhyngweithiol rydym yn eu datblygu yn lledaenu

gwybodaeth a phroadau gweithwyr diwydiannol a

chyn-weithwyr.

Heddiw maer prosiect ar fynd ar raddfa wirioneddol

ryngwladol ond cychwynnodd fel ymateb penodol a

phersonol iawn i waith dur Whiteheads yng nghanol

Casnewydd, De Cymru. I ddechrau, yr un fath llawer

o artistiaid ein cenhedlaeth, harddwch arwynebol y

sae oedd yn mynd n bryd ni. A ninnaun dynwyr

lluniau, ein cariad tuag at liw, ansawdd a golau an

denodd ni at y paent glas llachar oedd yn plicio ar

du allan adeiladaur ffatri. Roeddem nin syfrdan ganbosibilrwydd chwilota yn ei pherfeddion anhysbys,

darganfod rhagor o rwd a dadfail, yn awyddus i ddal

pob agwedd ar y man cymhleth hwn trwy ein lensys.

Er na chawsom mon siomi gan y perfedd, nid

oeddem wedi rhagweld maint anhygoel o enfawr

y ffatri. Wrth chwilota cyllar bwystl diwydiannol

hwn, yn chwilio am onglau da i dynnu eu lluniau,

darganfuom fyrddiwn o gyffyrddiadau dynol:

negeseuon wediu sgrifennu ar barwydydd, droriau

desgin llawn pethau personol, cypyrddau bach a

lluniau plant y gweithwyr yn dal yn sownd ynddynt,

a mygiau rhif y gwlith o de a choffi ar eu hanner.

Caewyd Whiteheads yn 2004, dair blynedd cyn i ni

fynd yno, ac eto roedd yn teimlo fel petair bobol,

ai gweddnewidiodd o adeilad yn galon cymuned

gyfan, newydd adael yr adeilad y diwrnod cynt.

Buan y daeth yn amlwg, er bod wynebaur adeilad

yn gwneud in synhwyrau ni ganu, mair lliaws o

bethau personol ac olion dynol oedd yn dal eindychymyg. Ym mhen yr hir ar hwyr, buan y daeth yr

hyn a fwriadwyd fel un ymweliad yn chwilen yn ein

pennau a dilynodd ymweliadau eto lawer a ninnaun

gwneud ein gorau i weld drwyr rhwd er mwyn

dirnad yn ddyfnach. Erbyn dechrau 2008 roeddem

wedi sylweddoli na allem fyth wneud cyawnder

hanes cyffyrddadwy ac atsain deimladol y gwaith

dur ar ein pennaun hunain. Dechreusom lunio

cynllun i wahodd artistiaid eraill, syn gweithio mewn

amrywiaeth o gyfryngau, i ddefnyddio technegau a

llygaid creadigol ychwanegol.

Yn eironig ddigon, tuar adeg yma y cawsom ar

ddeall fod Whiteheads i fod i gael ei chwalu chwe

wythnos fer yn ddiweddarach, gydan gwthio ni i

fwrw iddi er mwyn elwan llawn ar beth oedd y saen

ei gynnig cyn ei golli. Yn ystod yr wythnosau wedyn

gwahoddwyd amrywiaeth o artistiaid i Whiteheads,

yn rhydd i ymateb ir adeilad ai dranc enfawr ym mha

gyfrwng neu gyrchddull bynnag roedden nhwnteimlo ei fod yn eu taro. Y gwaith a gynhyrchwyd yn

ystod y cyfnod hwn a ddaeth yn arddangosfa gyntaf

Cyflwyniad


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Drychiolaethau mewn Arfwisgyng nghanolfan Glan

yr Afon yng Nghasnewydd, lle daeth dros 3000 o

ymwelwyr.

Yn ddiweddarach, yn gwylior chwalu, daethom

i sylweddolin union pa mor hoff y gall rhywun

fynd o adeilad. Bun broad poenus a chwithig i

ni ac eto dim ond am wyddyn gwta y cawsem

yr anrhydedd o adnabod y lle. Roedd deall

teimladau gweithiwr yn gwylior adeiladaun

dymchwel yn rwbel, dynion a merched a allasain

hawdd fod wedi treulio hyd at hanner can

mlynedd yno, y tu hwnt in hamgyffred ni. O

sylweddoli bod potensial mawr chwyddo graddfa

a dyfnder amcanion ymchwil y prosiect mewn

cyd-destun Ewropeaidd ehangach, dyma ddewis

dau ranbarth allweddol iw harchwilio, gan geisio

cymharur sefyllfa yn Ne Cymru ag ardaloedddiwydiannol eraill yn Ewrop yr oedd dirywio

tebyg yn dod iw rhan.

Mae gan Wlad y Basg lawnder o dreftadaeth

ddiwydiannol ynghlwm chloddio ei deunyddiau

crai a diwydiannau trymion megis cynhyrchu dur trwy

hyd a lled y rhanbarth, a greodd gymunedau gwydn

cryon sydd, fel eu cymheiriaid yng Nghymru, wedi

gorfod delio chythrw economaidd-gymdeithasol

difrifol yn sgil rhoi i gadw a chaur diwydiannau

trymion yn wyneb cystadleuaeth ryngwladol. Wrth y

gwaith o ddethol saeoedd i ganolbwyntio arnynt,

fen denwyd ni at ffatri ddur Altos Hornos de Vizcaya

gynt yn Sestao, ar gyrion Bilbao. Y gwaith dur gynt

enfawr hwn, oedd yn cyogi 40,000 o weithwyr,

oedd y cyfadail ffatroedd mwyaf yn Sbaen o bell

ffordd. Bu i ni hefyd wahodd artistiaid i ymateb

i benrhyn Zorrotzaurre, sydd, yn wahanol i Altos

Hornos, yn gartref nifer fawr o adeiladau diwydiannol

syn dal i weithio neu syn nesu at ddiwedd euswyddogaethau ar hyn o bryd ar drothwy ymdrech

adfywio anferthol a gyd-drefnir gan Zaha Hadid.

Mae rhanbarth olar prosiect, y Ruhrgebeit, yn cynnig

darlun llawer mwy blaengar o sut i anrhydeddu

treftadaeth ddiwydiannol, yn gweddnewid

cyfadeiliau anferth megis Golosgfa a gwaith cloddio

Zollverein yn fan artistig a diwylliannol o bwys. Fei

cydnabyddir bellach yn un or cofebion diwydiannol

pwysicaf yn y byd ac yn 2001 cafodd statws

Treftadaeth y Byd UNESCO. At hynny roedd yn ein

bwriad chwilio Landschaftspark yn Duisburg-Nord,

cyeuster mawr cynhyrchu dur a ailwampiwyd yn

barc cyhoeddus, syn cadw ei adeiladau eiconig megis

y ffwrneisi chwyth ai dyrau oeri. Oi ailddehongli mae

wedi datblygun fan syn denu miloedd o ymwelwyr

bob blwyddyn ac maen gydran hanfodol o siapio

darlunio treftadaeth ddiwydiannol yr Almaen ddydd

a ddaw.

Arolwg ywr llyfr yn eich dwylo o waith gan nifer oartistiaid a grwyd at amrywiaeth o arddangosfeydd

a lwyfannwyd dros y tair blynedd a aeth heibio ers

ein hymwelid cyntaf Whiteheads. Maen dogfennu

ymatebion creadigol o Dde Cymru a Gwlad y Basg

ac maen cynnig patrwm ymchwil yn y dyfodol

rydym yn bwriadu ei gwneud yn y Ruhrgebeit. Yn

y dymer economaidd sydd ohoni maer prosiect

yn wynebu dyfodol ansicr, yn drawiadol o debyg i

sefyllfar diwydiannau syn ein cyfareddu, ar un fath

u cymunedau nhw rydym yn benderfynol o ddal

i fynd.

Gobeithio y cewch chi gymaint o hwyl ar y chwilota

ag y cawsom ni!


Curaduron y prosiect


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Ghosts in Armour es una exploracin artstica

multidisciplinar sobre el declive del sector industrial

del acero europeo. Documenta las prdidas que

han marcado a las comunidades locales e investiga

las huellas tangibles de la industria con el objetivo

de preservar los elementos no fsicos del patrimonio

industrial: las historias, leyendas urbanas y los recuerdos

acumulados a lo largo de varias generaciones de

trabajadores. Nuestro programa, como comisarios, se

centra en el trabajo de un grupo diverso de artistas

internacionales en los espacios industriales y en las

comunidades de tres regiones clave: sur de Gales,

en el Reino Unido; Bilbao, en el norte de Espaa; y la

regin del Ruhrgebeit, de Alemania.

Partiendo de que la actividad artstica, en esencia,

es una prctica de traducciones estticas, nuestro

propsito es fomentar las conexiones entre cadacontexto regional, sus comunidades e instituciones,

para conocer y promover el estudio sobre e l desarrollo

de las sociedades europeas post-industriales y las

consecuencias inherentes del declive industrial.

Hemos sido muy privilegiados a la hora de interactuar

con los espacios a menudo restringidos que ofrece

cada zona, y como consecuencia, es importante que

las exposiciones, publicaciones y elementos interactivos

que desarrollamos difundan los conocimientos y

experiencias de los antiguos empleados.

En la actualidad, el proyecto opera en una escala

internacional, pero comenz como una respuesta

muy especca y personal a la acera de Whiteheads,

en el centro de Newport, Gales. En un principio,

como muchos artistas de nuestra generacin, nos

sentimos atrados por la belleza supercial de este

lugar. Como fotgrafos, el color, la textura y la luz nos

llam la atencin, as como el azul brillante de losedicios exteriores de este complejo fabril. Estbamos

emocionados ante la posibilidad por explorar sus

interiores desconocidos, por descubrir el xido y el

deterioro, y deseosos de capturar todos los aspectos

de este espacio a travs de nuestros objetivos.

Aunque el interior no nos decepcion, fuimos incapaces

de prever la escala de la fbrica. Explorando el vientre de

esta bestia industrial y mientras buscbamos buenos

ngulos para fotograar, descubrimos una multitud

de restos humanos: mensajes escritos en las paredes,

cajones llenos de objetos personales, armarios todava

con las fotografas de los hijos de los trabajadores

colocadas, y muchas tazas de t y caf a medio terminar.

Whiteheads se cerr en 2004, tres aos antes de

nuestra primera visita y, sin embargo, sentimos como

si la gente que haba transformado este edicio

en el corazn de una comunidad local, hubiera

abandonado la estructura tan solo el da anterior.

Pronto se hizo evidente que mientras la supercie

atrajo a nuestros sentidos, era la multitud de objetos

personales y huellas humanas lo que captur a nuestra

imaginacin. Al nal, lo que habamos planeado como

una sola visita pronto se convirti en una obsesin,

a la que le siguieron visitas ms frecuentes en las

que intentbamos comprender mejor este espacio

oxidado y polvoriento. A principios de 2008 nos dimos

cuenta de que nosotros solos nunca podramos

hacer justicia a las historias tangibles y a la resonancia

emotiva de la acera. Entonces empezamos a formular

un plan para invitar a otros artistas que trabajan

en diferentes disciplinas, para as emplear tcnicas

adicionales y ms puntos de vista creativos.

Irnicamente, fue durante ese tiempo cuando nos

conrmaron que Whiteheads iba a ser demolida

seis semanas despus, lo que nos oblig a actuar

con rapidez para aprovechar al mximo lo que

este espacio ofreca antes de que desapareciera.Durante las semanas siguientes, una variedad de

artistas fueron invitados a Whiteheads con plena

Introduccin


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libertad para responder al edicio y su inminente

desaparicin mediante los medios y enfoques

que consideraron oportunos. El trabajo producido

durante este perodo se convirti en la primera

exposicin de `Ghosts in Armouren El Riverfront,

en Newport, recibiendo ms de 3000 visitantes.

Ms tarde, testigos de la demolicin, nos dimos cuenta

del apego emocional que se puede llegar a sentir por

un edicio. Result ser una experiencia dolorosa y

difcil para nosotros y eso que slo habamos tenido el

privilegio de conocer este espacio por unos doce meses.

Para nosotros, entender lo que senta un trabajador que

vea como las estructuras colapsaban convirtindose

en ruinas, y las emociones de hombres y mujeres que

trabajaron cerca de cincuenta aos en este lugar, estaba

ms all de nuestra comprensin. Nos dimos cuenta de

que exista un gran potencial para aumentar la escala yprofundidad del proyecto en un contexto europeo ms

amplio; por lo que seleccionamos dos regiones clave a

analizar, buscando una comparacin entre la situacin

vivida en el sur de Gales con la de otras reas europeas

industriales que experimentan un declive similar.

El Pas Vasco cuenta con un rico patrimonio industrial

gracias a la extraccin de materias primas en sus minas y

las industrias pesadas, como la de produccin de acero,

que se ubicaron en la regin. Aqu se crearon fuertes

comunidades que resistieron, como sus homlogas de

Gales, y que han tenido que lidiar con la consecuencias

socio-econmicas derivadas del cierre de las plantas

siderrgicas debido a la competencia internacional. A la

hora de seleccionar enclaves en los que concentrarnos,

nos sentimos atrados por la antigua fbrica de Altos

Hornos de Vizcaya en Sestao, a las afueras de Bilbao. Esta

acera inmensa emple a 40.000 trabajadores a lo largo

de su historia, y fue durante aos el mayor complejo

industrial en el pas. Tambin invitamos a los artistas aque respondieran a la pennsula de Zorrotzaurre, que,

a diferencia de Altos Hornos, es hogar para un gran

nmero de edicios industriales an activos o cerca del

cese de sus actividades, en vsperas de un gran plan de

regeneracin coordinado por Zaha Hadid.

La ltima regin a tener en cuenta por el proyecto es

el Ruhrgebeit, en Alemania. sta ofrece una imagen

mucho ms progresista a la hora de honrar el patrimonio

industrial, transformando enormes complejos como la

planta de coque de Zollverein y su explotacin minera

en un importante espacio artstico y cultural. Ha sido

reconocido como uno de los monumentos industriales

ms importantes del mundo, logrando el ttulo de

Patrimonio de la Humanidad en 2001, por la UNESCO.

De forma adicional, tenemos la intencin de explorar

Landschaftspark ubicado en Duisburg-Nord, una

acera convertida en parque pblico manteniendo

sus estructuras icnicas como los altos hornos y lastorres de refrigeracin. A travs de su reinterpretacin

se ha convertido en un espacio que atrae a miles de

visitantes cada ao y que es un componente integral

en la futura representacin de la herencia industrial de

Alemania. El libro que tienes en tus manos ofrece una

visin general de la obra creada para las exposiciones

realizadas durante los tres aos que han transcurrido

desde nuestra primera visita a Whiteheads.

Documenta las respuestas creativas nalizadas en el

sur de Gales y el Pas Vasco, y ofrece un modelo base

para las futuras investigaciones a realizar en la zona del

Ruhr. Debido al clima econmico actual, el proyecto

se enfrenta a un futuro incierto, similar al padecido

por las industrias que tanto nos fascinan, pero en el

que, al igual que pasa con sus comunidades locales,

estamos decididos a continuar.

Esperamos que disfrutis explorando como nosotros!


Comisarios del proyecto


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1 4

Ghosts in Armour Europako altzairuaren indus-

triako sektoreari buruzko diziplina askotariko

arte-esplorazioa da. Tokian tokiko komunitateak

markatu dituzten galerak dokumentatzen ditu eta

industriaren aztarna nabariak ikertzen ditu industria-

ondarearen elementu ez sikoak gordetzearren:

langileen hainbat belaunalditan metatutako

historiak, hiri-kondairak eta oroitzapenak. Gure

programaren mamia, komisario garen aldetik,

nazioarteko artista ezberdinen taldeak hiru eskualde

gakoren industria-eremuetan eta komunitateetan

egindako lanean datza: Galeseko hegoaldea, Erre-

suma Batuan, Bilbo, Espainiaren iparraldean, eta

Ruhrgebeit eskualdea, Alemanian.

Arte-jarduera, funtsean, itzulpen estetikoen jarduna

dela abiapuntu hartuta, eskualdeko inguramendu

bakoitzaren, komunitateen eta erakundeen arteandauden loturak sustatzeko asmoz ari gara, industria-

aroaren osteko Europako gizarteen garapena eta

industriaren beheraldiaren berezko ondorioak eza-

gutu eta aztertzea bultzatzeko.

Pribilegiatuak izan gara eremu bakoitzak eskaintzen

dituen espazio sarritan mugatuekiko elkarrekintzari

dagokionez eta, ondorioz, garrantzitsua deritzogu

garatzen ditugun erakusketa, argitalpen eta elka-

rrekintzako elementuek garai bateko langileen

jakinduria eta esperientziak zabaltzeari.

Gaur egun, nazioarteko mailan dabilen proiektua

da, baina Galesen, Newport-eko erdigunean ze-

goen Whiteheads altzairutegiari emandako beren

beregiko erantzun pertsonal gisa sortu zen.

Hasieran, gure belaunaldiko artista asko eta askok

bezala, toki haren azaleko edertasunak erakarri

gintuen. Argazkilari izanik, koloreak, egiturak eta

argiak deigarri egin zitzaizkigun, baita lantegi-konplexu haren kanpoaldeko eraikinen urdin bizia

ere. Hunkituta geunden barrualde ezezagunak

miatzeko aukerarekin, oxidoa eta hondamena

aurkituko genuelakoan, gure objektiboen bidez es-

pazio haren alderdi guztiak harrapatzeko gogotsu.

Barrualdeak huts egin ez zigun arren, ez ginen

fabrikaren eskala aurreikusteko gai izan. Industriako

erraldoi haren sabela miatzen, eta argazkieta-

rako angelu egokiak bilatzen genituen bitartean,

gizakien aztarna ugari aurkitu genituen: paretetan

idatzitako mezuak, gauza pertsonalez beteriko

tiraderak, langileen seme-alaben argazkiak artean

jarrita zituzten armairuak, eta amaitu gabeko te eta

kafe kikara asko. Whiteheads 2004an itxi zen, gure

lehen bisita baino hiru urte lehenago, eta, hala

ere, eraikin hura tokiko komunitate baten bihotz

bihurtu zuen jendeak handik bezperan alde egin

balu bezala sentitu genuen.

Laster nabarmen geratu zen gainazalak gure

zentzumenak erakarri bazituen ere, gure irudimena

han barruan aurkitutako gauza pertsonal eta giza

aztarna piloak atzeman zutela. Azkenean, bisita

bakarrarekin egingo genuela pentsatu bagenuen ere,

obsesio bihurtu zitzaigun eta behin eta berriro itzuli

ginen hara espazio oxidatu eta hautsez beteriko hura

hobeto ulertzen saiatzeko. 2008aren hasieran ohartu

ginen guk bakarrik ezingo genukeela altzairutegiko

historia nabariak eta zirrarazko oihartzuna merezi

zuten bezala azaleratu. Orduan plana ehuntzen hasi

ginen, hainbat diziplinatako artistak gonbidatzeko,

teknika osagarriak erabili eta ikuspegi sortzaile

gehiago baliatuko bagenuen.

Ironikoki, orduantxe baietsi ziguten handik sei

astera eraitsiko zutela Whiteheads eta, hartara,

azkar ibili behar izan genuen espazio hark

eskaintzen zuenari ahalik eta etekinik handiena

aterako bagenion, desagertu baino lehen.Hurrengo asteetan hainbat artista gonbidatu

genituen Whiteheads-era, eraikinari eta berehalako

Komisarioen Hitzaurrea


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1 5

desagerpenari egoki zeritzen bitarteko eta ikus-

pegiekin askatasun osoz erantzutera. Tarte horretan

egindako lanetik etorri zen `Ghosts in Armour lehen

erakusketa, Newport-en, El Riverfront-en. 3000

bisitari baino gehiago izan zituen.

Gerora, eraispenaren lekuko, ohartu ginen nolakoa

izan daitekeen eraikin batenganako lotura emo-

zionala. Esperientzia mingarria eta zaila izan zen

guretzat, hamabi hilabetez soilik ezagutzeko

pribilegioa izan bagenuen ere. Guretzat, egiturak

kolapsatu eta aiurri bihurtzen ikusten zituen

langileak zer sentitu behar zuen ulertzea, han

berrogeita hamar bat urtez lan egin zuten gizon

eta emakumeen emozioak ulertzea, gure adime-

netik harago zegoen. Jabetu ginen proiektuaren

eskala eta sakontasuna Europako inguramendu

zabalagora hedatzeko ahalmen handia zegoela;horrela, bi funtsezko bi eskualde hautatu genituen

aztergai, Galeseko hegoaldean bizitako egoera

antzeko beheraldia jasandako Europako beste

lurralde industrial batzuekin alderatu nahian.

Euskal Herrian industria-ondare aberatsa dago

meategietan lehengaiak erauzteari eta eskualde

osoan hedatu zen industria astunari, besteak beste,

altzairuaren ekoizleari esker. Hemen komunitate

sendoak sortu ziren, Galeseko homologoek bezala,

eutsi behar izan ziotenak eta, nazioarteko lehiaren

ondorioz, lantegi siderurgikoak ixtearen ondorio

sozio-ekonomikoei aurre egin behar izan diotenak.

Zein kokagune hautatuko genuen erabakitzeko

orduan, Sestaon, Bilboren kanpoaldean, zegoen

Bizkaiko Labe Garaien fabrika zaharrak erakarri

gintuen. Altzairutegi erraldoi hark 40.000 langile

izan ditu historian, eta urtetan herrialdeko

industria-konplexurik handiena ere izan zen.

Artistak Zorrotzaurreko penintsulari erreparatzekoere eskatu genien, Labe Garaiak ez bezala, oraindik

jardunean ari diren industria-eraikin askoren ko-

kaleku denez gero, Zaha Hadid-ek koordinatutako

biziberritzeko plan handiaren bezperan.

Proiektuan kontuan hartuko zen azkeneko eskualdea

Alemaniako Ruhrgebeit da. Askoz ere irudi pro-

gresistagoa ematen du industriako ondareari ohore

egiteko orduan, Zollverein-eko koke-planta bezalako

konplexu erraldoiak eta meategien ustiapena arte eta

kulturarako espazio garrantzitsu bihurtuz. Munduko

industria-monumenturik garrantzitsuentzat jo dute

eta UNESCOk 2001ean Gizadiaren Ondare izendatu

zuen.

Horrez gain, Duisburg-Nord-en dagoen Landschaftspark

miatzeko asmoa ere badugu. Altzairutegia zen eta

parke publiko bihurtuta dago, egitura ikurrak, hala

nola, labe garaik eta hozteko dorreak mantenduz.

Berrinterpretatuz, urtero milaka bisitari erakartzen dituenespazioa da, Alemaniaren industria-herentziaren geroko

irudikapenaren osagai integrala.

Eskuartean duzun liburuak Whiteheads-era estrei-

nako joan ginenetik igarotako hiru urteotan egin

ditugun erakusketetarako sortu den obraren ikuspegi

orokorra eskaintzen du. Galeseko hegoaldean eta

Euskal Herrian burututako erantzun sortzaileak

dokumentatzen ditu, eta Ruhr-eko eremuan

eginkizun dauden ikerkuntzetarako oinarri-eredua

eskaintzen du. Gaurko giro ekonomikoa tarteko,

zalantzan dago proiektuaren etorkizuna, hain lilu-

ratuta gaituzten industriek pairatutakoaren antzera,

baina tokiko komunitateekin gertatzen den bezala,

aurrera egitera erabakita gaude.

Gurekin miatzen gozatuko duzuelakoan!


Proiektuaren Komisarioak


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19/191

1 7

SOUTH WALES

DE CYMRUSUR DE GALES

GALESEKO HEGOALDEA


20/191

1 8

Wales occupies a unique place in the

history of metal mining, smelting and

processing. From the late eighteenth

century to the beginning of the twentieth century

it was successively the location of the largest

copper mine in the world and the largest iron works

in the world, internationally pre-eminent in the

smelting of copper and other non-ferrous metals,

and produced most of the worlds tinplate. From

the 1840s to the 1870s, Welsh iron works rolled rails

for the worlds railways. In the 1850s to 1870s Wales

was host to key developments in the perfection of

bulk steel making, with part of the development

of Sir Henry Bessemers process of pneumatic

steel making, Sir William Siemens large scale open

hearth steel works, and the basic process of steel

making invented by Sydney Gilchrist Thomas and

Percy Carlisle Gilchrist originating at Welsh iron and

steel works.

To be rst in the eld is to risk being overtaken by

other locations. Britains pre-eminence in iron and

steel was superseded at the end of the nineteenth

century rst by Germany and then by the USA. The

sixty or so renowned iron works in south Wales,

located mainly in a chain strung along the heads

of the south Wales valleys, mostly closed as local

iron ores became exhausted, save for seven that

converted to steel making. The succession of rsts

and largests that characterised the industry in the

nineteenth century gave way to rsts and largests

in Europe (or outside the USA) and latterly in the

UK. A major new steel industry became established

in the port towns of the south Wales coast,

smelting imported ore and using coking coal from

the south Wales coaleld. The economic downturn

of the 1920s and 1930s prompted government

intervention in the location and nancing of heavy

and strategic industries from the mid 1930s with

the rebuilding of the Ebbw Vale steel works in 1936-

38 heralding this new phase in Britains industry.

The necessity to modernise the Welsh tinplate

industry, still second largest in the world in the

mid twentieth century, prompted massive state

intervention in the steel industry which, coupled

with nationalisation in 1951 (reversed from 1954),

resulted in unprecedented central planning

and joining of social with economic policy by

post-1945 socialist administrations. A process of

company amalgamations that had begun in the

1920s and accelerated in the 1930s had, by the

1950s, resulted in much of the south Wales steel

industry being concentrated in three international

scale companies, Guest Keen & Nettlefolds, Richard

Thomas & Baldwins, and the Steel Company of

Wales. Government loans enabled the last two to

construct - and continuously expand - two vast

new steel works at Llanwern near Newport and at

Port Talbot respectively.

The nineteenth century bulk steel making processes

(the Bessemer and open hearth processes) began

to be superseded by the basic oxygen process

in the late 1950s. It was introduced to the UK at

Ebbw Vale in 1960 and in 1962 the new Llanwern

works became the rst in the country to be solely

equipped with BOS converters. The nancial and

social costs of closing the obsolescent portion

The Welsh Ste e l IndustryRobert Protheroe Jones - Curator of Heavy Industry, Amgueddfa Cymru - National Museum Wales

Bessemer converter blowing, Ebbw Vale, 1950s


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1 9

of the UK steel industry and of building modern

replacement works resulted in the industry being

renationalised in 1967. By 1980 the restructuring

was complete, but with international demand

for steel signicantly less than the optimistic

predictions of the early 1970s, and a huge growth

in international competition, the UK industry

entered the economic downturn of the 1980s with

excess capacity and a huge accumulated nancial

burden. Competition also grew in home markets

as mini mills, based on the electric arc process

of steelmaking from scrap, began to be built to

produce bulk and engineering steels, including

three in south Wales.

The state-owned British Steel Corporation was

privatised in 1988, amalgamated with Dutch

steelmaker Hoogovens in 1999 to form the Corus

Group, which in turn was purchased by Tata Steel

of India in 2007. The closures during the 1980s

recession were followed by further rationalisation

in the 1990s and 2001-02, leaving a much-reduced

Welsh steel industry. In south Wales, Corus operates

the one surviving integrated works (i.e. possessing

both blast furnaces to smelt iron and steel making

plant - one of three remaining in the UK) at Port

Talbot, together with rolling mills and coating

plant at Llanwern, Trostre tinplate works at Llanelli

(the last surviving UK tinplate works), and electrical

steels rolling mills at Newport; the two surviving

mini-mills, at Newport and at Cardiff, are owned

by Spanish, and Swiss-Liberian-Greek owned

respectively.

The sweeping changes that the Welsh steel

industry experienced in the second half of the

twentieth century massive investment and

modernisation, followed by closures and de-

manning as new processes were introduced, and

latterly retrenchment and further closures are

not unique to Wales. The length of time that metal

smelting and processing has dominated the Welsh

economy however makes the experience of the

workforce, their families and the wider community

over the last generation all the more intense and

unexpected. Steel seemed, in the 1950s and 1960s,

to be returning to a prominence within Wales

comparable to the nineteenth century, with many

large communities reliant on the industry with

well-paid secure jobs into which sons followed

fathers. Whilst the rationalisation of the 1970s as

the industry phased out the open hearth process

and replaced it with BOS, and the accompanying

de-manning, were difficult for the steel

communities, there was widespread recognition

that they were necessary for the industry to remain

competitive, and the impact was tempered by

a generally buoyant economy. In contrast, the

closures, manpower reductions and acquisition

of the industry by foreign owners of the industry

from the early 1980s have been traumatic. Steel

works, formerly appearing to be unmoveable and

permanent xtures in the physical and emotional

landscape, have become far less xed and certain

to the communities that work in and live around

them. The experiences of the Whiteheads work force

from 1945 onwards are a near-perfect microcosm

of the wider Welsh steel industry.

Espaol p. 165 | Euskara p. 175 | Cymru p. 188

Teeming ingots, Panteg Works, circa 1962


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2 0

Due to the dedication of its workers, Whiteheads

once led the way in steel manufacturing in the

region. An open waste ground is all that remains

today: the proposed site of a new hospital.

The steelworks once employed 2,000 workers

and was one of the rst mills in the world to

install semi-continuous rolling technology.

Beneting from its close proximity to Newport

docks Whiteheads produced items that were

s i ppe t o m ar e ts a ov er t e wo r . How ev er,

the rise in foreign competition from developing

industrial regions forced Whiteheads

operations to e gra ua y sca e own unti

the site was nally closed in 2003. The rolling

plant was relocated to the nearby Llanwern

stee wor s w ere it remains in operation to ay.

Whiteheads was demolished in 2008.

Newport, South Wales, UK

O erwy ymro ia ei weit wyr, ar un a eg

roedd Whiteheads yn arloesir ffordd mewn

cynhyrchu dur yn y rhanbarth. Tir anial agored

ywr cwbl sydd weddill heddiw: sae arfaethedig

ysbyty newydd.

nwaith roedd y gwaith dur yn cyogi dwy l o

weithwyr ac roedd yn un or melinau cyntaf yn y

y i oso tec n oleg rolio le - ar au s.

Roedd Whiteheads ar ei ennill o fod yn agos iawn

at ociau Casnewy a c lu i ei gyn yrc ion i

farchnadoedd trwyr byd yn grwn. Fodd bynnag,

cynyddodd cystadleuaeth dramor o ranbarthau

diwydiannol datblygol a gor odi gostwng

gweithredu Whiteheads yn raddol hyd nes caur

sae ymhen yr hir ar hwyr yn 2003. Symudwyd

yr o er rholio i waith dur Llan-wern gerllaw lle

maen dal i weithio heddiw.

C walwy W ite ea s yn 2008.

Debido a la dedicacin de sus trabajadores,

Whiteheads lider la produccin de acero en la

regin. Un terreno vaco es todo lo que queda

a da de hoy con planes de convertirse en un

nuevo hospital.

En su punto lgido la fbrica empleaba a 2.000

trabajadores y fue una de las pioneras en

instalar un tren de laminacin semi-continuo.

Su localizacin, cercana al puerto de Newport,

facilit que sus productos compitieran en

mercados de Reino Unido y Europa. Pero como

sucedi con otras fbricas similares y tras el

desarrollo de otras zonas de produccin ms

asequibles como India o China, Whiteheads

comenz un declive gradual, cerrando sus

puertas en 2003. La planta fue recolocada en

la acera cercana de Llanvern donde todava se

encuentra en operacin.

Whitheheads fue demolida en el ao 2008.

Langileen dedikazioari esker, Whiteheads altzai-

ruaren ekoizpenean lider izan zen eskualdean.

Gaur egun lurzoru hutsa soilik geratzen da,

ospitale berri bihurtzeko planekin.

Goraldian, 2.000 langile zituen fabrikak, eta

ijezketa-tren erdi-jarraitua jartzen aitzindari izan

zen munduan.

Newport-eko portutik gertu zegoenez, bere

produktuek aukera zuten Erresuma Batuko eta

Europako merkatuetan lehiatzeko. Baina antzeko

beste fabrika batzuei gertatu zitzaien bezala, eta

ekoizpen-eremu eskuragarriagoak garatu eta

gero, adibidez, India edo Txina, Whiteheadsen

beheraldia hasi zen, apurka-apurka, 2003an ateak

itxi zituen arte. Fabrika Llanvern-en birkokatu zen

eta oraindik han ari da.

Whitheheads 2008an eraitsi zuten.

WHITEHEAD


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21

Llanwern was the rst oxygen-blown

ntegrated steelworks in the UK when it opened

in 1962, occupying a vast stretch of reclaimed

marshland on the outskirts of Newport.

Corus announced the end of steelmaking at

the site in 2001, with the loss of 1,340 obs. The

heavy end of the works was subsequently

emois e in 2004. However, Corus retaine

the hot and cold strip mill, capable of rolling

over 3 million tons of steel per year.

A 115 mi ion master p an was quic y rawn

up to regenerate the site.

Llanwern, Newport, South Wales, UK

Llan-wern oe y gwait ur integre ig

chwythedig gan ocsigen cyntaf yn y Deyrnas

Unedig pan agorodd ym 1962, ar lain enfawr o

gorstir wedii adfer ar gyrion Casnewydd.

Cyhoeddodd Corus ddiwedd Gwneud Dur ar y

sae yn 2001, gyda cholli 1,340 o swyddi. Yn dilyn

hynny chwalwyd pen trwm y gwaith yn 2004.

Fodd bynnag, cadwodd Corus y elin stribed

oet ac oer, oe yn gallu r olio ros air

miliwn o dunelli o ddur y wyddyn.

Lluniwyd uwchgynllun 115 miliwn yn fuan i

adfywior sae.

Llanwern fue la primera acera integral con

soplado de lanzas de oxgeno en UK. Sus

puertas abrieron en 1962 tras su construccin

en una marisma reclamada a la naturaleza a las

afueras de Newport.

En el ao 2001, la sociedad britnico-holandesa

Corus anunci el cierre de produccin con

la prdida de 1.340 puestos de trabajo. Las

estructuras y altos hornos fueron demolidos en

2004. Sin embargo, Corus mantiene en activo

el tren de laminacin en caliente y fro, capaces

de producir ms de 3 millones de toneladas de

acero cada ao.

Un plan de regeneracin que asciende a 115

millones fue rpidamente puesto en marcha en

la zona.

Llanvern oxigenoko lantzen puztearekin aritu zen

lehen altzairutegi integrala izan zen Erresuma

Batuan. 1962an ireki zituzten ateak, Newport-en

kanpoaldean naturari kendutako padura batean

eraiki eta gero.

2001ean, Corus sozietate britainiar-holandarrak

ekoizteari utziko zuela iragarri zuen, 1.340 lan-

postu galduz. Egiturak eta labe garaiak 2004an

eraitsi zituzten. Alabaina, Corus-ek segitzen du

hotzeko eta beroko ijezketa-trena erabiltzen,

eta urtean 3 milioi tona altzairu baino gehiago

ekoizteko gai da.

Berehala jarri zen martxan biziberritzeko plana,

115 milioikoa.

LLANWER


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2 2

T e name E w Va e wi a ways e synonymous

with steel making. Iron was produced on the

site as early as 1790. With the invention of the

Bessemer Converter in 1856 t e stee wor s

expanded dramatically making Ebbw Vale one

of the rst fully integrated steel mills.

Following the decline of the mining industry

in t e UK, t e area s geograp y egan to

in er pro uction; rat er t an mining its own

raw materials Ebbw Vales iron ore, coke and

imestone nee e to e transporte great

istances via roa or rai .

E w Va e stee w or s wa s p ase own

gradually over a number of years, with the last

remaining part, the tinplate works closed in

2 1.

Ebbw Vale, Blaenau Gwent, South Wales, UK

ydd yr enw Glynebwy yn gyfystyr gwneud

dur hyd byth. Cynhyrchid haearn ar y sae

mor gynnar 1790, yn sgil dyfeisio Newidydd

essemer ym 1856 e ango y gwait ur yn

ddramatig a gwneud Glynebwy yn un or melinau

dur cwbl integredig cyntaf.

Yn dilyn dirywior diwydiant glo yn y Deyrnas

ne ig, ec reuo aeary iaet y r ar al

l es te ir io cyn yrc u ; y n y tr ac na c l o i o ei

ddeunyddiau crai ei hun roedd gofyn cludo

mwyn haearn, cc a chalch aen Glynebwy am

bellteroedd mawr ar hyd y ffyrdd neu ar drenau.

Gam wr t ga m i ymw y g wa it u r Glyne w y

dros nifer o ynyddoedd, a chaewyd y gwaith tun

olaf oedd ar l yn 2001.

El nombre de Ebbw Vale siempre estar ligado

a la produccin de acero. Ya en el ao 1790

se produca hierro en la fbrica ancada en el

valle de Ebbw Vale. Con numerosos avances a lo

largo de los aos siguientes y con la invencin

del convertidor Bessemer, en 1856, la planta

pudo transportar carbn y otros materiales

usados en el proceso del acero a precios muy

econmicos, convirtiendo a Ebbw Vale en una

de las primeras plantas siderrgicas completas.

Sin embargo, a la vez que el sector minero

entr en su poca de recesin, la localizacin

de la planta empez a no ser favorecedora para

su mantenimiento. Los materiales tenan que

transportarse desde lejanas distancias a travs

de carretera o tren.

De forma gradual a lo largo de varios aos se

fueron cerrando secciones hasta su completo

desmantelamiento en 2001.

Ebbw Vale izena altzairuaren ekoizpenarekin

lotuko da beti. 1790an jada, burdina ekoizten zen

Ebbw Vale bailarako fabrikan. Hurrengo urtee-

tako aurrerapen ugariekin eta 1856eko Bessemer

bihurgailuaren asmakizunarekin, fabrikak ikatza

eta altzairuaren prozesuan erabiltzen ziren beste

material batzuk merke garraiatu ahal izan zituen;

horrela, Ebbw Vale lehenengo siderurgia-fabrika

osoetako bat izan zen.

Baina meategietako sektorea atzeraldian sartu

zen aldi berean, mantentzeko traba izaten hasi

zitzaion kokalekua. Materialak urrutitik ekarri

behar zituzten errepidez edo trenez.

Pixkana, hainbat urtetan, atalak itxiz joan zen

harik eta 2001ean erabat desegin arte.

EBBW VALE


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Port Ta ot, wit a ong an i ustrious istory

of steel making founded in 1901, is the only

remaining fully integrated steelworks in South

a es an a ma or component in Coruss UK

operation. Established in 1951, the modern

acilities were owned by the Steel Company of

a es, an ater t e Britis Stee Corporation

B.S.C .

One of the ma or assets of the site is its

deepwater port, which allows heavy bulk

carriers to ship large quantities o iron ore

nd coking coal into the plant from mining

operations around the world.

The Port Talbot Works remain a major landmark

in the area.

Port Talbot, Neath, South Wales, UK

Port Tal ot, ai anes ir a yglo gwneu ur a

sylfaenwyd ym 1901, ywr unig waith dur cwbl

integredig sydd ar l yn Ne Cymru ac maen

un or prif gydrannau yng ngwaith Corus yn

y Deyrnas Unedig. Fei sefydlwyd ym 1953, ac

roedd y cyeusterau modern yn eiddo Cwmni

Dur Cymru, ac yn ddiweddarach Corfforaeth Dur

Prydain (B.S.C).

Un o brif gaffaeliadaur sae yw ei borthladd

dr dwfn, syn rhoi lle i swmpgludwyr trymion

gludo cruglwythi o wyn haearn a glo ir atri o

weithfeydd cloddio o gwmpas y byd.

Mae Gwaith Port Talbot yn dal i od yn dirnod o

bwys yn yr ardal.

Port Talbot tiene una historia muy dilatada e

interesante como acera desde su fundacin

en 1901. En la actualidad es la nica empresa

metalrgica completa operativa en el sur de

Gales desde 1951 y una de las piezas clave de

las operaciones de Corus en el Reino Unido.

Port Talbot perteneci en sus inicios a Steel

Company of Wales, pasando despus a manos

de British Steel Corporation (B.S.C).

Uno de sus puntos clave es su profundo puerto

en el que pueden encallar barcos de carga

pesada para descargar grandes cantidades de

hierro y carbn provenientes de pases lejanos.

La acera de Port Talbot es uno de los puntos de

referencia ms relevantes en la zona.

Port Talbot-ek historia luze eta interesgarria du

altzairutegi gisa 1901ean fundatu zenetik. Gaur

egun Galeseko hegoaldean erabat martxan da-

goen enpresa metalurgiko bakarra eta Corusen

Erresuma Batuko operazioen funtsezko piezetako

bat da. Port Talbot, hasieran, Steel Company of

Wales-ena izan zen eta, geroago, British Steel

Corporation-en (B.S.C) eskuetara igaro zen.

Funtsezko puntuetako bat portu sakona du,

urrutiko herrialdeetatik datozen burdin eta ikatz

kantitate handiak deskargatzeko itsasontziak hara

hel daitezkeenez gero.

Port Talbot-eko altzairutegia inguruko erreferen-

tziazko puntu nagusietako bat da.

PORT TALBOT

Metro Bilbao, Sestao Stati


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Welsh art re sponsesYmateb ion ce lfyddyd Cymru

O bras cre adas en GalesGalesen eg in iko lanak


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27

Adlewyrchiadau Byrhoedlog Reexiones Transitorias Gogoeta Iragankorrak

WrightGeorge (Matt Wright & Chris George)

Transient Re flections

Transient Reections addresses the intense

relationship(s) between space and time. The

360 photosphere is constructed from a series

of high dynamic range digital images, solvent-

printed onto polyester/nylon and covering a

latex balloon.

The installation presented the photosphere

at the exact point of its own creation for a

period of one working week to question the

reputation and capacity of photography

as a recording device. Transient Reections

foregrounds the dynamic relationship between

the past viewpoint of the spheres exterior

and that of the current perspective of the

environments interior.

MaeAdlewyrchiadau Byrhoedlogyn mynd ir afael

r berthynas ddwys rhwng lle ac amser. Maer

ffotosffer wedii lunio o gyfres o ddelweddau

digidol cwmpas dynamig uchel 360, wediu

printio thoddydd ar ddeunydd polyester/neilon

ac yn gorchuddio baln latecs.

Roedd y mewnosodyn yn cywynor ffotosffer ar

union fan ei greu ei hun am gyfnod o wythnos

waith i archwilior enw sydd i ffotograffiaeth o

fod yn ddyfais gofnodi, ai gallu cofnodi. Mae

Adlewyrchiadau Byrhoedlogyn rhoi yn y tir blaen

y berthynas ddynamig rhwng safbwynt tu allan y

sffr sydd yn y gorffennol ar persbectif presennol

y tu mewn ir amgylchfyd.

Reexiones Transitorias hace reerencia a la(s)

relacin(es) intensa(s) entre el espacio y el

tiempo. La fotosfera en 360 ha sido creada a

partir de una serie de imgenes de alto rango

dinmico, impresas en polister y nylon y

cubriendo un globo de ltex.

Para la instalacin se coloc la fotosfera en

el punto exacto en el que fue creada, por

un perodo de una semana, cuestionando

la reputacin y la capacidad de la fotografa

como dispositivo de grabacin. Reexiones

Transitoriasmuestra en primer plano la relacin

dinmica entre el punto de vista del pasado,

en el exterior de la esfera y el de la perspectiva

actual, desde el interior.

Gogoeta Iragankorrak espazioaren eta denbo-

raren arteko lotura biziei buruz da. Foto-esfera

poliester eta nylonean inprimatu eta latexeko

puxika batekin estalitako 360ko maila dinamiko

altuko hainbat iruditatik sortu da.

Instalatzeko, foto-esfera sortu zen toki berberean

ipini zen, astebetez, argazkiak grabatzeko

dispositibo gisa duen izen ona eta gaitasuna

zalantzan jarriz. Gogoeta Iragankorrak lanak

iraganeko ikuspegiaren, esferatik kanpo, eta

gaurko ikusmiraren, barrutik, arteko lotura

dinamikoa lehenengo planoan erakusten du.


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Print is central to our culture, in all its

manifestations. As a mode of communication

it has outlived its relevance as the exclusive

vehicle or news an in ormation an is now

principally a means of creating art. For this

project printed materials are used to intuitively

engage the visual history o Whiteheads. The

three sections of P 1, 2, represent the oor,

the roof, and the space existing in-between;

together constituting a map o the structure.

The people and the ghosts of the site are

expressed through the use o items le t behind,

objects and images taken from the site that

have their own unique histories. The translation

to print reveas t eir iconic status, a owing

them to represent the steel works in their own

right.

Martyn Webb

Mae argraffu wrth graidd ein diwylliant, ym mhob

diwyg arno. Fel dull cyfathrebu mae wedi goroesi

ei berthnasedd fel yr unig gyfrwng i newyddion

a gwybodaeth a bellach maen benna yn ddull

o greu celfyddyd. At y prosiect hwn defnyddir

deunyddiau print er mwyn mynd ir afael yn

redd ol hanes gweledol Whiteheads. Maer tair

r an o P 1, 2, yn cynryc iolir llawr, y to, ar lle

gwag syn bod rhyngddyn nhw; gydai gilydd yn

ur o map or adeilad.

Mynegir pobol ac ysbrydion y sae drwyr

de nydd o bethau a adawyd ar l, gwrthrychau

a delweddau a godwyd or sae a chanddyn

nhw eu hanesion ihafal eu hunain. Maer trosi i

brint yn dangos eu sa e eiconig, gan roi lle iddyn

nhw gynrychiolir gwaith dur yn eu rhinwedd eu

unain.

La estampacin es fundamental para nuestra

cultura, en todas sus manifestaciones. Como

modo de comunicacin ha sobrevivido gracias

a su utilidad como vehculo exclusivo para

distribuir noticias e informacin y es ahora

principalmente un medio para crear arte. Para

este proyecto, los materiales impresos se utilizan

para relacionar de manera intuitiva la historia

visual de Whiteheads. Las tres secciones de la

pieza AP 1, 2 y 3 representan al suelo, techo y

espacio existente en el medio, que en conjunto

constituyen un mapa de la estructura.

El pueblo y los fantasmas de la fbrica son

expresados a travs del uso de los elementos

abandonados, objetos e imgenes sonsacados de

su sitio con sus historias nicas. La traduccin en

la impresin revela su forma icnica, permitiendo

representar la acera en su propio derecho.

Estanpazioa funtsezkoa da gure kulturarako,

adierazpen guztietan. Komunikatzeko modu gisa

albisteak eta informazioa zabaltzeko bitarteko

esklusibo gisa erabilgarria delako iraun du, eta

orain, batez ere, artea sortzeko bitartekoa da.

Egitasmoan material inprimatuak Whiteheads-

en irudizko historia intuizioz lotzeko erabiltzen

dira. AP 1, 2, 3 piezaren hiru atalek zorua, sabaia

eta tarteko espazioa adierazten dituzte, hirurek

batera egituraren mapa osatuz.

Herria eta fabrikako mamuak abandonatutako

elementuen, euren lekuetatik ateratako gauza

eta irudien erabileraren bidez, euren historia

bakarrekin, adierazten dira. Inprimatzean ikono

formak erakusten dira, altzaria bere zuzenbidean

irudikatzeko aukera emanez.

2, 3


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12-3-1 utilizes the discarded and forgotten

work-torn garments of steelworkers. The

dress consists of twelve Corus work jackets,

three uorescent yellow waistcoats and one

jumpsuit.

The fabrics are twisted and sculpted into a

design that challenges their original purpose

and meaning to reveal the aesthetic beauty

inherent in each garment.

Linzie Elliott

12-3-1utiliza los trajes de trabajo descartados y

olvidados por los trabajadores de la siderurgia.

El vestido se compone de doce chaquetas de

la rma Corus, tres chalecos uorescentes y un

mono.

Los tejidos han sido adaptados en un diseo

que desafa a su propsito y signicado original,

para revelar la belleza esttica inherente en

cada una de estas prendas.

Mae 12-3-1yn defnyddio dillad y gweithwyr dur,

wediu rhwygo gan waith, eu tau au hanghoo.

Maer wisg yn cynnwys deuddeg o siacedi gwaith

Corus, tair gwasgod felen fflworoleuol ac un siwt

neidio.

Maer deunyddiau wediu cordeddu au

cerunion gynllun syn herio eu diben au hystyr

gwreiddiol i ddatgelur harddwch esthetig

cynhenid i bob dilledyn.

12-3-1 lanean siderurgiako langileen lan-jantzi

alboratu eta ahantziak erabiltzen dira. Jantzia

Corus markako hamabi jaka, hiru txaleko uores-

zente eta lohihartzeko batekin osatu da.

Ehunak jatorrizko asmoari eta esanahiari aurre

egiten dien diseinuan egokitu dira, janzki horie-

tako bakoitzari datxekion edertasun estetikoa

erakusteko.

12-3-1


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3 4

I starte in Whitehea s in 1954 an worke there until 1991. I ha many

goo years there with my workmates ecause the camara erie was

excellent.

We had ups and downs but there were lots of good times. I canremember all sorts of Whiteheads stories, most of them positive. There

were some a times ut we were guarantee a goo wage at the en

of every week.

I brought up ve children with my wi e on my earnings and we had a

pretty good life. I consider it to have been one of the most unique places

in the country; in fact there were four businesses in the complex and they

all looke a ter one another.

Money was always available in those days; we had bonuses that were

shared amongst the workers so you didnt have to save or your holidays

or C ristmas.

We did such a marvellous job here that when I was on holiday, or

exampe, an met peo pe t at as e me, W ere o y ou w or B i ?, I to

them I worked in Whiteheads and they replied God, what a great place

t at is, you get everyt ing t ere!

Whiteheads was a factory well known in the United Kingdom an

a roa ecaus e w e pro uce inn ovative pro ucts an s ape s tee in

more forms than you could imagine.

t was a great p ace to wor . I a many appy years ere. At t e en , it

was a bitter experience because it had to nish so suddenly.


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Whiteheads cannot be seen as a sterile

space; for many years it was rich with life, a

real place. It was formed and shaped over

several generations making it impossible to

comprehend its lasting impact now that it lies

uninhabited. For It Happened Here workers

were photographed in the locations chosen by

them as the most memorable from their time

spent within the site. Our attention is drawn not

simply to what it is - the space itself comprised

of vast deserted buildings and empty offices

but to the workers complex relationships

with specic areas, and to each other, which

transformed the site into a signicant place.

Nothing seems to happen within these images

because everything has already happened.

They exist as journeys to spaces in between,

unknown to the viewer whilst simultaneously

vague and uncertain to their protagonists.

Yma y digwyddodd Aqu es donde pas Hementxe gertatu zen

Janire Njera

Ni ellir gweld Whiteheads fel man diffrwyth; am

ynyddoedd lawer roedd yn llawn bywyd, yn

lle go iawn. Fei ffurwyd ac fei siapiwyd dros

sawl cenhedlaeth gydai gwneud yn amhosib

dirnad ei effaith barhaus ac yntau bellach yn

anghyfannedd. Ar gyfer Yma y Digwyddodd

tynnwyd lluniau gweithwyr yn eu dewis lefydd

sef y mwyaf coadwy ou c yfnod yn y sae. Tynnir

ein sylw nid yn unig at beth sydd y man ei hun

syn cynnwys adeiladau enfawr anghyfannedd a

swyddfeydd gweigion ond hefyd at berthynas

gymhleth y gweithwyr mannau penodol,

ac i gilydd, a weddnewidiodd y saen lle

arwyddocaol.

Does dim byd iw weld yn digwydd oddi mewn

ir delweddau hyn oherwydd mae popeth eisoes

wedi digwydd. Maen nhwn bodoli fel teithiau

i fannau rhwng dau fan arall, yn anhysbys ir

gwyliwr ar yr un pryd bod yn annelwig ac yn

ansicr iw prif gymeriadau.

Whiteheads no puede ser visto como un

espacio estril ya que durante muchos aos

fue rico en vida, fue un lugar real. Se form

gracias al esfuerzo de varias generaciones,

por lo que es imposible comprender su estado

actual ahora que se encuentra deshabitado.

Para este proyecto los trabajadores fueron

fotograados en los lugares elegidos por

ellos como los ms memorables de su tiempo

dentro de la empresa. Nuestra atencin no se

centra slo en lo que el espacio es en s, un

espacio con grandes edicios, ocinas vacas y

abandonadas; sino en las complejas relaciones

de los trabajadores con esas reas especcas, y

con ellos mismos, que transformaron la planta

en un lugar signicativo.

Parece que nada pasa en las imgenes, porque

todo ya ha pasado. Son fotos que existen

como puertas abiertas a lugares intermedios,

desconocidos para el espectador, mientras al

mismo tiempo se muestran lejanos e inciertos

para sus protagonistas.

Ezin dugu Whiteheads espazio antzu gisa ikusi,

urtetan biziz aberatsa, toki erreala izan zenez

gero. Hainbat belaunaldiren ahaleginari esker

osatu zen eta, horregatik, ezinezkoa da oraingo

egoera ulertzea, hutsik baitago. Egitasmo

honetarako, argazkiak egin zitzaizkien langileei

eurek enpresan emandako denboran oroigarrien

zeritzelako hautatutako lekuetan. Gure arreta

ez da espaziora espazio hutsa, bulego huts eta

abandonatu handiko eraikinen espazioa, denez

gero soilik horretaratzen, langileek berariazko

eremu horiekin eta eurekin, euren artean

zituzten harreman konplexuetara ere bai, fabrika

hari esangura eman ziotenez gero.

Badirudi irudietan ez dela ezer gertatzen,

dena iragana baita. Ikuslearentzat ezezagunak

eta, aldi berean, protagonistentzat urrun eta

zalantzazkoak diren tarteko lekuetara zabalik

dauden ateak diruditen argazkiak dira.

It happe ned here


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3 6

I started working at Whiteheads on the 4th o October

1965 and still remember it as if it was yesterday. I

started as a 16 year old young boy and nished as

an old man. My rst job was as a sample tester and I

nished as a production planner.

Im sitting outsi e the works at the moment looking at

t e pace wit my Gran aug ter. It is a s a s ituation

to see that the buildings are not longer there and it has

een converted into a car park, be ore the building o

t e new ospita.

starte as an eectrica apprentice in August 1971.

As a 16-year-old boy coming out of school I was very

ervous at the beginning but after meeting the other

apprentices I starte to sett e own. I remem er t e

rst day as if it was yesterday; we had an induction

ourse an were intro uce to a man calle Bernar

w o wa s t e t im e e ep er. He s o we u s t e c o c

ar s an the proce ure to clock in an out an other

basic things. Working on the site for 35 years there is

so much I could talk about one o the things that

had lots o good experiences here, some unny an

some sa . I starte when there were more than 2000

people working in the factory and when I nished

there were 2 or 3 o us - that wasnt a good experience

a t a .

have lots o things to be thank ul or. We had a goo

salary that I brought my family up on, and I had really

good times with the other fellows.

s Ive sai , it is sa to see it in its current state ut a

those memories will to stay with me forever.

really stands out was a ter my 4 years apprenticeship;

Whitehea s was un er short time working so

there were no jobs available for me and the other

electricians. We were trans erred to another actory in

town but luckily after 18 months we could come back.

I also remember January 1980 as the beginning of

the steel strike that went on or three months, which

was a hard time for all the workers and their families.

eing in Whiteheads for so long I had the time to

meet so many good people, becoming riends o some

o them too. At the moment, maybe we dont see

each other so often but when we do there is always

something to talk about; the Christmas parties, the

sports days and amily trips.

Witnessing the demolition you have flashbacks

o the good times and the bad times. A lot o

people ha a goo living working here an it is

unfortunate that another generation cant have

t e o pportun it ies I a .


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37

I worke with Corus rom 1974 until I retire in 2007

with 32 years service. When I star ted working for British

Steel I was a clerk typist for 8 years.

I was then transferred to another department where I

did lots of scheduling and bagging of coils.

My favourite memories of working for Corus involve

the people I worked with, the laughs we shared an

the time we spent together insi e an outsi e work.

We rea y enjoye wor ing toget er. I can onest y say

that my happiest memories are related to the people I

pent all those years with.

When I returne , to e involve with this artistic

project, it was quite a melancholy time; coming ack

nto Whiteheads and seeing it in its current state. All

the Christmas decorations were still hanging rom the

ceilings; it was very emotional for me and shocked me

with lots of past stories all of a sudden. But all of them

are happy memories an memories I will cherish.

starte at W ite ea s in 1956 as an apprentice

electrician. I have really fun memories of the place

and the time I spent there. My father and grandfather

worked on the site, as well as other amily members.

nce, I remember falling into a tank and having to be

wa s e , r ie a n r es se a ga in wi t n e w c o t e s y

fellow workers. As well, I could talk about one evening

we all went out and after spending some time in the

ar we starte to ea ac ome, we co ecte our

coats an ater, w en we were on t e us we rea ize

that we had the coats of all the other customers in the

ar. We i nt realise until we arrive at the other en

n w e a more coats t an o ies to put t em o n

These are ust examples of the things I can remember

rom the old days.


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3 8

I starte working here a long time ago in Novem er

1944 and I worked here all my life until I nally retire

when I was 65. I started at Godins drawing office

as an apprentice and a ter two years there I spent

two years at the tool room until I was qualied as a

raughtsman. I held this position for several years an

was trans erred to the Whiteheads drawing office to

ecome assistant site engineering for the works.

The opportunity then came to go into pro uction,

at which time I became a manager of the bending

epartment attached to the bottom end of the hot

mills. I then helped with the redevelopment o this

area until it became a fully integrated reinforcement

epartment. At this time the works settled as one of

the biggest specialists in this eld in the entire country.

starte wor ing on t e site in 1970 on t e eavy strip

until I moved to the tting line where I worked for 33 years.

enjoye my time at W ite ea s a ot; not t at I miss

t too much now that Im retire , although I really miss

the comradeship and all the boys looking after me and

v ce versa.

miss the place too, the friendship, and the work

because a ter so long I was used to it and at the end o

stayed at the position o General Manager o t he site

until the reorganization, at which point I retire .

t is a very sa occasion to come to the works to see that

t e emoition is actua y ta ing p ace ecause I can

emember very happy moments with my colleagues.

cant get my head around the act that it is all gone.

t is time for a new start but it is hard when you are

so attached to an environment that has disappeared.

t e ay it gave me a goo iving. My ot er memories

of Whiteheads go back to late December when most

workers from the slitter line went for some rinks

together and some o them didnt come to work the

following day.

My sa est memory... actua y I wou say it is coming

down to the site to see that it has all been attened.

Whiteheads gave me a good living and I enjoyed

eing part o this community.


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3 9

I started at Godins Mill office in June 1974 as a typist.

I use to e a customer operator ut that work was

running out. I worked with a lot of characters and al

o us got on really well. A ter a ew years I changed my

ob to be a computer operator in a new office on the

other side of the building. That was a fresh start within

the same company that gave me the chance to meet

other fellows.

Although t he actory has cl osed down we still meet

an ave meas toget er to remem er t e o ays .

I retire in 1991 ut I still keep really goo memories

of this place.

I joined Whiteheads in 1973 to work here or 27 years.

My rst impression of the site was walking into the hot

mills and realizing how magni cent the machinery

was. Then I thought, Where have I come to? I ha the

eeling of being somewhere infernal.

I came from a very small company into this large family

usiness with 2000 workers and I was amazed by the

riendship that was showed to everybody. Everybody

new everybody else and we all helped each other. I

you made a mistake someone would cover it for you

and put things right. You could rely on the people to

support you and it was a wonder ul place to work.

funny story has just come to my head; I was asked to

go into the canteen to repair some lights or a concert

we were having that night. I wasnt familiar with this

particular section and all I could nd were some lights

at the back o the stage so I wired them up and got

them working. Then, as the per ormance started I

witched the lights on and unfortunately these were

UV lights so all you could see from the audience were

really bright eyes and the white shirts and blouses o

the women an chil ren. It was a it em arrassing ut

t the end everyone understood the humorous side of

it an it was an entertaining nig t.


42/191

4 0

worked in Whiteheads for 35 years. I started in

the cold roll department in 1968, shifting to other

positions be ore nishing in the original depar tment

where I trained in 2002. One of my earliest memories

nvolves a really bad winter in the late 70s when I was

a le to walk to work an har ly anyone else was, ue

to the snow. The men from the warehouse department

ad to cut me an opening to the next site so I was able

to use the la ies ecause at that time we i nt have

womens toi ets in our si e.

eing a cat lover, one o the roles I took on at

hiteheads was to feed and look after the large

at population on the site. In later years this turned

nto eeding birds, the ox that lived around us, an

anyt ing e se t at come a ong. One particu arhristmas my husband complained when I told him

e a to ta e me to t e wo r s on C r is tmas Day an

oxing Day to feed the cats because I couldnt stop

thinking about checking them.

When I was aske to take part in this project I arrive

to be greeted by two ex-employees and it felt like a

o rma wo r ing ay. But going in si e t e co ro

department and seeing the emptiness was awful.

eeks later there is nothing here at all, which is a very

sa experience.


43/191

41

I was employed on the site for 35 years. I started as a

tter/turner apprentice and held other positions unti

becoming a multi unctional supervisor, and I nished

as a co mi engineer.

I stayed here a ter the site had been sold, working

wit t e emoition contractor supervising t e site

while it was closed down and made ready for a new

evelopment. It is har to watch it isappearing

gra ua y every ay. It seems t at memories mig t e

erased so easily too, and it is for this reason Ill make the

effort to keep them orever.

I remember really well the funny colleagues that spent

time ma ing t e routine more enjoya e wit t eir

jo es an actions. T ere are not many p aces you go toevery day and enjoy working but here in Whiteheads

t was a bit di erent because everybody had a goo

ew years.

here was a lot o good camaraderie among the

workforce on the site, making it harder to see the site

as it is today; e verything has gone already.


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4 2

R ll i Sti l l


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4 3

Rholio o Hyd Laminando Todava Ijezketan oraindik

Jay Dyer

Maer lluniau hyn gan Jay Dyer ar eu pennauu

unain yn y prosiect wn, gan eu o n wn

dangos dur yn cael ei wneud, yn hytrach na beth

syn digwydd pan ddaw pen ar wneud dur. Er bod

a le is ia ur y n a i gw y o yno u nw ait y n

fythol-bresennol yn y saeoedd y maer prosiect

wn yn eu c wilio, maen ano yc mygur

grymoedd gwirioneddol y rhoddwyd y ffrwyniddyn nhw yn y mannau hyn heb eu pro nhw. Ac

maer rhain yn rymoedd cry on, cynoesol bron,

dan reolaeth dynion oedd yn fychain ou cymharu

graddfar gwaith. Sawl gwaith bynnag y clywch

c i sn am arllwys tua 300 o unelli o ur taw

ar unwaith, does yna ddim dychmygu o fath yn y

byd allai fod yn hafal ir realaeth aruthrol.

Gwnaed y delweddau hyn yng ngwaith Corus

ym Mhort Talbot. Hwn bellach ywr unig ffatri

gwneu ur sy we ill yn Ne Cymru, on y

yn oed yma nid yw pethau ond cysgod or hyn

o e u nw ait h.

Las imgenes de Jay Dyer son nicas dentro

de este proyecto ya que muestran el proceso

del acero en lugar de lo que ocurre cuando el

acero deja de ser producido. Aunque los ecos

de lo que sucedi en el pasado se muestran

presentes en las zonas industriales exploradas

en `Ghosts in Armour, es difcil imaginar las

fuerzas reales empleadas en estos espaciossin antes haberlas experimentado. Y estas son

fuerzas poderosas, casi primitivas, controladas

por los hombres empequeecidos por la mag-

nitud de la operacin. Sin embargo, muchas

veces hemos odo decir que se vertieron 300

toneladas de acero fundido de golpe, aunque

nuestra imaginacin nunca puede coincidir con

la impresionante realidad.

Estas imgenes han sido realizadas en la acera

de Corus en Port Talbot. En la actualidad, esta

es la nica planta operativa que fabrica acero

en el sur de Gales, pero incluso aqu las cosas

son una sombra de lo que fueron una vez.

Jay Dyer-en irudiak bakarrak dira proiektu hone-

tan, altzairuaren prozesua erakusten baitute

altzairua ekoizteari uzten zaionean gertatzen

dena erakutsi beharrean. Iraganean gertatu zena-

ren oihartzunak `Ghosts in Armour-en arakatzen

diren industria-guneetan ageri diren arren, zaila

da espazio horietan benetan erabilitako indarrak

irudikatzea aldez aurretik esperimentatu ezean.Eta indar horiek ahaltsuak dira, ia primitiboak,

operazioaren handitasunak txiki egindako gizo-

nek kontrolatuak. Sarritan, ordea, 300 tona

altzairu urtu kolpean isuri zirela entzun dugu,

gure irudimena errealitate ikaragarri horren

parera inoiz helduko ez den arren.

Irudi horiek Corusen altzairutegian, Port Talboten

egin dira. Gaur egun Galeseko hegoaldean

altzairua fabrikatzen duen bakarra da baina, hor

ere, gauzak garai batean izan zirenaren itzala

baino ez dira.

Roll ing Sti l l

These pictures by Jay Dyer are unique within

t e project, in t at t ey s ow stee eing

made, rather than what happens when steel

stops being made. Though the echoes of

at once appene are ever present in t e

sites explored in this project, it is difficult to

magine the actual orces that were unleashed

n t ese spaces wit out experiencing t em.These are powerful, almost primeval, forces,

controlled by men dwar ed by the scale o the

operation. However many times you ear a out

00 tones of molten steel being poured in one

o, no amount o imagination can match the

wesome reality.

T ese images were ma e at t e Corus wor s in

Port Talbot. This is now the only steel making

plant left in South Wales, but even here things

re a shadow o what once took place.

E i m t l S d


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44

Graham Acidic is a Bristol based producer who

has provided much of the original music to

accompany the Ghosts in Armour project. His

selected audio works are utilised within many

of the multimedia elements of the project

including the virtual tour ambient soundscapes

and promotional videos and trailers; and

they feature prominently within the main

documentary lms. Acidic employs many

different techniques in his productions and

where possible includes environmental soundsrecorded whilst visiting the project sites.

Synaur Amgylchedd Sonidos ambientales Giroko soinuak

Graham Acidic

Graham Acidic es el productor musical, con base

en Bristol, que ha proporcionado gran parte

de la msica original que acompaa a `Ghosts

in Armour. Sus obras de audio se utilizan en

muchos de los elementos multimedia del pro-

yecto, incluyendo los sonidos ambientales del

tour virtual, los vdeos promocionales y rfagas,

y ocupan un lugar destacado dentro de las obras

de vdeo documental realizadas. Graham emplea

muchas tcnicas diferentes en sus producciones

y en lo posible incluye sonidos grabados durante

sus visitas a los enclaves industriales.

Cynhyrchydd sydd i gartref ym Mryste yw Graham

Acidic, sydd wedi darparu llawer or gerddoriaeth

wreiddiol i gyfeilio ir prosiect Drychiolaethau

mewn Arfwisg. Defnyddir llawer oi weithiau sain

yn llawer o elfennau amlgyfrwng y prosiect gan

gynnwys seinweddau amgylchol y daith rithwir,

deos a rhagluniau hyrwyddo, ac maen nhwn

amlwg eu lle oddi mewn ir prif ffilmiau dogfen. Mae

Acidic yn defnyddio llawer o wahanol dechnegau

yn ei gynyrchiadau a lle bo modd maen cynnwys

seiniaur amgylchedd wediu recordio tra oedd ynrhoi tro am saeoedd y prosiect.

Graham Acidic `Ghosts in Armour erakusketan

entzuten den musika originalik gehiena eman

duen musika-ekoizlea da, Bristolen bizi da. Bere

audio-obrak egitasmoaren osagai multimedia

ugaritan erabiltzen dira, ibilbide birtualeko

giro-

"Ghosts In Armour" de Janire Nájera & Matt Wright

Documents

Transcript of "Ghosts In Armour" de Janire Nájera & Matt Wright