“Echoes
and Erasures: Zarina Bhimji’s Art of Traces”
in the exhibition catalogue for Zarina Bhimji: Flagging it Up
organized by Fruitmarket Gallery, Edinburgh, Scotland
Click here for more info
This major publication spans Bhimji’s career from She Loved to Breathe – Pure Silence (1987), a photo-text installation that explores politics, voice, beauty and love as forms of resistance to her most recent work, a new film, Blind Spot (2023). Also lavishly illustrated is Bhimji’s first film, Out of Blue (2002), an allusive exploration of the extermination and erasure of particular groups by a state; and Waiting (2007), an atmospheric wander around a stilled factory that processed sisal into twine. Bhimji is motivated by art’s ability to re-make experience in the mind of the viewer: ‘if I can’t make an object that describes a dusty room so someone else understands what it feels like to be in that room, then I’ve failed’. She wants to move people, and to tap into a way of thinking that is not embedded in words. With an essay by Allison K Young looking at he decades-wide arc of Bhimji’s practice which also saw monumental shifts in the art world that received it. It also includes a conversation between Zarina Bhimji and novelist Kamila Shamsie which moves from childhood recollections to the poetry, music and cultural inflences on Bhimjis work and the researchbehin
112pp Hardback
280 x 210mm landscape
65 colour illustrations
ISBN 978-1-908612-70-0
in the exhibition catalogue for Zarina Bhimji: Flagging it Up
organized by Fruitmarket Gallery, Edinburgh, Scotland
Click here for more info
This major publication spans Bhimji’s career from She Loved to Breathe – Pure Silence (1987), a photo-text installation that explores politics, voice, beauty and love as forms of resistance to her most recent work, a new film, Blind Spot (2023). Also lavishly illustrated is Bhimji’s first film, Out of Blue (2002), an allusive exploration of the extermination and erasure of particular groups by a state; and Waiting (2007), an atmospheric wander around a stilled factory that processed sisal into twine. Bhimji is motivated by art’s ability to re-make experience in the mind of the viewer: ‘if I can’t make an object that describes a dusty room so someone else understands what it feels like to be in that room, then I’ve failed’. She wants to move people, and to tap into a way of thinking that is not embedded in words. With an essay by Allison K Young looking at he decades-wide arc of Bhimji’s practice which also saw monumental shifts in the art world that received it. It also includes a conversation between Zarina Bhimji and novelist Kamila Shamsie which moves from childhood recollections to the poetry, music and cultural inflences on Bhimjis work and the researchbehin
112pp Hardback
280 x 210mm landscape
65 colour illustrations
ISBN 978-1-908612-70-0
