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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
www.ghostsinarmour.com
Published by | Publicado por | Argitalpena
Fundacin Bilbao Arte Fundazioa, C. Urrazurrutia 32, 48003 BILBAO
Tel.: 0034 9 44 155 097
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
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TransientReections
AP1,2,3
Visionuptheironmile
12-3-1
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
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SouthWales|
DeCymru
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Surd
eGales|
GalesekoHegoaldea
Introduction
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Cywyniad
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ueCountry
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GwladYBasg
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TheW
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!
Matt Wright & Janire Njera
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!
Matt Wright & Janire Njera
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!
Matt Wright & Janire Njera
Proiektuaren Komisarioak
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1 7
SOUTH WALES
DE CYMRUSUR DE GALES
GALESEKO HEGOALDEA
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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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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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3 3
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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3 5
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.
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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.
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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-