{"id":1582,"date":"2017-03-28T14:37:12","date_gmt":"2017-03-28T12:37:12","guid":{"rendered":"http:\/\/liap.eu\/?p=1582"},"modified":"2017-03-28T14:37:12","modified_gmt":"2017-03-28T12:37:12","slug":"sadia-sadia","status":"publish","type":"post","link":"https:\/\/liap.eu\/index.php\/de\/2017\/03\/28\/sadia-sadia\/","title":{"rendered":"Sadia Sadia"},"content":{"rendered":"

\"\"<\/a>Sadia Sadia is a director, editor, producer and installation artist. She is also an award-winning record producer and songwriter. Sadia began her career by becoming one of the first women in the world to be signed to a major label as a record producer. She currently works with moving images as an editor and director, as well as creating experimental short films, installation works, and soundfields. She has an M.Sc. in Political Science and Economics (Gender, Culture and Society) from Birkbeck College at the University of London as well as a further M.A. in Design Studies from Central St. Martins. Sadia has campaigned for peace and against racism in both print and broadcast media.<\/p>\n

Music<\/strong>
\n1978-1993
\nSigned to EMI as a record producer, Sadia worked largely with the Canadian guitar player David Wilcox producing the albums ‘Out of the Woods’, ‘My Eyes Keep Me In Trouble’, ‘Bad Reputation’, ‘Breakfast at the Circus’, and ‘The Natural Edge’, many of which achieved gold or platinum status. She also co-wrote many of the titles on these albums. These recordings formed the basis of a number of ‘Greatest Hits’ packages, including the platinum-selling ‘Over Sixty Minutes With’.<\/p>\n

Her work has been sequenced to films starring actors such as Dan Akroyd, Gerard Depardieu and Tom Cruise, to documentaries such as \u2018The Corporation\u2019, as well as to films and television programmes by Polygram, Miramax, Interscope, Universal Pictures, Touchstone, CBC (Canada), ABC and Network 7 (Aus.) among others.<\/p>\n

On emigrating to the United Kingdom Sadia became the first female member of the British Record Producer\u2019s Guild (now MPG) and sat on the Board of Directors for several years under the chairmanship of Robin Millar CBE.<\/p>\n

1993 – present
\nSadia was a founding member of the multimedia world fusion project \u2018Equa\u2019 with Stephen W. Tayler (Suzanne Vega, Peter Gabriel, Eric Serra, Bob Geldof, Kate Bush), which was signed to Polygram (Australia) in 1996 and produced the eponymously titled ARIA nominated album \u2018Equa\u2019 the same year.<\/p>\n

The Sydney Dance Company has two works in their permanent repertoire, \u2018Unwitting Sight\u2019 (1998) and \u2018Cradle Song\u2019 (2001) both choreographed by Wakako Asano to music by Equa.<\/p>\n

In 1996, Sadia also worked on the TUC (Trade Union Congress) \u2018Respect: Unite Against Racism\u2019 campaign, producing the single \u2018Respect\u2019, which featured dozens of international recording artists. The project received national media coverage as well as a commendation from the House of Commons (UK) through the passage of an Early Day Motion (EDM).<\/p>\n

Films and Installations<\/strong>
\nSadia produced, edited and (working with Stephen W. Tayler as Equa) scored the short film \u2018The Noon Gun\u2019 The film received a grant from the British Council, and had its world premiere at the 53rd Melbourne International Film Festival in 2004. It had its UK premiere at the National Musuem for Photography, Film and Television (now the National Media Museum) in Bradford in September 2004. It was shortlisted for the Satyajit Ray Foundation Short Film Competition, and has been screened at the Portobello Film Festival (July 2007), the World Performing Arts Festival (Pakistan, November 2008), Film Mutations (Zagreb, Croatia, December 2008) and the Cleveland Museum of Art (2007). The Tricycle Theatre (“Britain’s leading political theatre” The Guardian) screened ‘The Noon Gun’ as part of their season ‘The Great Game: Aspects of Afghanistan’ from May 1st-10th 2009.<\/p>\n

Sadia also produced and edited the short ‘The End of the Party: Hyde Park 1969’, a view of the 60’s based on previously unseen footage of the famous first performance by Blind Faith in Hyde Park; produced and edited ‘Iggy the Eskimo Girl’, a short featuring Syd Barrett\u2019s (Pink Floyd) girlfriend Iggy, ubiquitously and affectionately known in the 1960s as ‘Iggy the Eskimo Girl’; and directed, produced and edited the film ‘Lit From Within: The Film and Glass Works of Anthony Stern’, a short documentary by Sadia about the filmmaker and glass artist Anthony Stern which explores some of Anthony’s life and works, and examines the aesthetic and philosophical relationship between glass and film as materials through which light passes.<\/p>\n

She also worked as director, editor, producer and sound designer on ‘San Francisco Redux No. 1’, a single-channel installation. These films had their world premiere as part of the curated programme \u2018Le Cinema de L\u2019Avant Garde\u2019 at the Cinematheque Francaise in Paris, France in June 2008. \u2018San Francisco Redux No.1\u2019 went on to be screened at Lussas \u2018\u00c9tats G\u00e9n\u00e9raux du Film Documentaire\u2019 and was the subject of the essay \u2018Body to Body: On the Subject of Regrettable Searching\u2019 by the noted film critic and theoretician Nicole Brenez.<\/p>\n

Sadia is also the creator of the single channel video installation ‘The Memory of Water (Part 1)\u2019 which was acquired by ACMI (The Australian Centre for the Moving Image) to form part of its permanent collection of \u201cexemplary works by Australian and international artists\u201d. It featured in the exhibition \u2018Proof: The Act of Seeing With One\u2019s Own Eyes\u2019 and ran as a loop from December 9th 2004 to February13th 2005 as part of the exhibition, as well as appearing on a host of internal and external screens in the Federation Square complex.<\/p>\n

In 2009, Sadia was awarded a Studio 18 artists’ residency, for international “contemporary visual artists pursuing an innovative practice in a professional capacity” at Gertrude Contemporary in Melbourne, Australia. This also marked the first public view of her 2009 installation work ‘Noise\/Ghosts of Noise’.<\/p>\n

During this time she authored her filmed multi-channel installation \u2018Metamorphoses in \u2018A\u2019 Minor\u2019, with the support of Doug Mitchell of Kennedy, Miller, Mitchell and filmed at their motion capture soundstage at Sydney Gate, with the support of Gertrude Contemporary and a British Council (Aus) artist\u2019s grant.<\/p>\n

In January 2014, Sadia completed \u2018All Time and Space Fold Into the Inifinite Present (Cataract Gorge)\u2019 a large-scale three channel filmed installation with an accompanying eight channel soundfield. The work premiered at the Queen Victoria Museum and Art Gallery (QVMAG) Inveresk, Launceston, Tasmania, on January 10th 2014 and ran through March 2nd 2014. It has since been acquired by QVMAG to form part of their permanent collection.<\/p>\n

Research Interests<\/strong>
\nFrom 1992 to 1994 Sadia completed a part-time M.Sc. in Political Science and Economics, with a specialisation in Gender, Culture, and Society. This arose out of her experiences working in commercial recording studios and the status of women in the recording industry, and gave rise to a specific interest in the status of women in the workplace. She also researched childhood sexual abuse among the female homeless population in Central London.<\/p>\n

From 1999 to 2000, she pursued a full-time Master\u2019s Degree at Central St. Martin\u2019s, which focused on sensory and experiential design studies, including the formation of sensory memory.<\/p>\n

Still Images\/Painting<\/strong>
\n\u2018New Faces\u2019, Berkeley Square Galleries, London, 1989; \u2018Orchidea et Mangostini\u2019, still images + ambient audio installation, March 2002 and \u2018A Language of Butterfly Wings\u2019 still images + ambient audio installation, November 2002, both Westbourne Studios, Notting Hill, London. Sadia is an occasional contributor to the photography magazine ‘DayFour’, including the \u2018Ulysses\u2019 (2005) publication and exhibition as well as DayFour\u2019s ‘Ulysses II’ (2010) publication and exhibition (Printspace, London, December 2010-January 2011).<\/p>\n

Lecturing<\/strong>
\nAmong others, Sadia has been a guest lecturer on the subject of \u2018Media and Ethics\u2019 at the University of Brunel (Buckinghamshire Campus), at Sotheby\u2019s Institute (London) on \u2018Women in Late19th & Early 20th Century Art\u2019, and a keynote speaker at the AES (Audio Engineering Society) 50th Anniversary Conference at the Jacob Javits Centre in New York on the subject of \u2018Gender Issues In Audio Production\u2019.<\/p>\n

Books<\/strong>
\nOn June 26, 2013 Sadia’s first book ‘Notes To An Unknown Lover’ was released by Bybrook Press. It is held at the Bodleian Library, Oxford University.<\/p>\n

Studio<\/strong>
\nSince January 2013 Sadia has been based out of one of four project spaces at Peter Gabriel\u2019s Real World Studios in Box, Wiltshire, UK.<\/p>\n

Selected Bibliography<\/strong>
\nStudio Sound, \u2018Winning Women In The Industry\u2019, November 1990; Studio Magazine,\u2018Frills and Spools\u2019, Dec. 1990; Audio Media, \u2018The Female Touch\u2019, February 1991; BBC Radio 4, Women\u2019s Hour, TX April 24, 1991; The Independent,\u2018Cutting Through Tape\u2019, Oct.1991; Recording Musician,\u2018Production Lines\u2019, August 1992; The MIX,\u2018Fiddling the Meter\u2019, November 1994; BBC Radio 1,\u2018The Glass Ceiling, TX November 1995; ‘She Bop: The Definitive History of Women in Rock, Pop, and Soul’, O\u2019Brien, Lucy, London:Penguin 1995; Music Week, \u2018In The Studio: TUC United Against Racism \u2018RESPECT\u2019 June 1996; Rolling Stone (Aus), \u2018Equa\u2019, December 1996; Opus, \u2018Sadia: the Equa Project\u2019, Oct.96; The West Australian, \u2018Tropical Heartbeat Meets Technology\u2019, Sept. \u201896; Herald Sun, \u2018Melting Pot of Sound\u2019, Oct. \u201896; ‘Proof: The Act of Seeing With One\u2019s Own Eyes’, Stubbs, Mike (Editor). ACMI. Melbourne:Australia 2004; Herald Sun \u2018Keeping Eyes on the Truth\u2019, December 2004; The Australian \u2018Screening The Truth\u2019 , December 2004; Contemporary Visual Arts and Culture, \u2019Proof\u2019 March-May 2005. Artabase, ‘Metamorphoses in ‘A’ Minor: Sadia Sadia in conversation with Amita Kirpalani’, Sept. 2009; The Examiner, \u2018Sadia Gains A Sound View of Tasmania\u2019 Jan. 2014.<\/p>\n

Contact<\/strong>
\nwww.chimera-arts.com<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

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