127 x 160 cm
Born in Uganda of Indian descent, Bhimji has lived in London after her family sought refuge from the regime of Idi Amin who compulsorily expelled all Asians from Uganda. Her recent work has been concerned with revisiting the country of her childhood and engaging with the experience of exile, political and social destruction, and deprivation. This photograph, which belongs to the series “Love”, was shot by Bhimji during her journey in Uganda in 2001, but was only edited in 2006. It depicts Entebbe airport, the site of evacuation of Asian refugees as well as the site of a daring attempt to resolve a hijacking crisis by Israeli forces in 1976. Although still functioning, principally for private aircraft, it is dilapidated. Commercial flights use a more modern airport, as though Entebbe airport is too scarred by history to be reused. The contrast between the private aircraft and the destitute building is striking. The work evokes a bygone era as well as the consequences of enforced action. The play of light and shadow is emphatic, the dark interior, with its lattice window frames, evoking prison conditions in contrast to the verdant open landscape. The title of the work refers to Bhimji’s father and his decision to leave Uganda, thus closing a chapter of the family history. By returning to Uganda, Bhimji has reopened it.
Zarina Bhimji’s films and photographs result from prolonged research in the field. Over the past few years she has traveled to Zanzibar, India and East Africa (including Uganda where she was born), retracing the path of the former British colonists. However the artworks produced from her enquiries are not in the documentary genre: she is interested in evoking human presence in places where it is absent, but where an atmospheric tension resulting from previous tragic events is still felt. Notwithstanding the manifestation of an acute political awareness in her work, Zarina Bhimji does not neglect the visual aspect: architecture is put to good use in her meticulous compositions, walls being a recurring motif of her visual vocabulary. Her landscapes are sometimes close to abstraction, yet one can feel in them the power of past violence. The beauty and poetry emerging from the images evince a feeling of wonder mixed with a profound melancholy, in the romantic tradition. Zarina Bhimji was born in Mbarara, Uganda in 1963. She now lives and works in London.
Why Is There A Huge Mural Of Rembrandt On Mare Street, Hackney? | Londonist Why Is There A Huge Mural Of Rembrandt On Mare Street, Hackney? By M@ M@ Why Is There A Huge Mural Of Rembrandt On Mare Street, Hackney? Image: Global Street Art If you walk down Mare Street in Hackney, you might get the feeling someone is watching you...
Interview: Roberto Gil de Montes on Huichol Art and the Chicano Movement - Something Curated Share this: Facebook Twitter Tumblr Features Interviews Profiles Guides Jobs Interviews - 27 Nov 2023 - Share Born in Guadalajara, Mexico, Roberto Gil de Montes immigrated to the United States with his family at the age of 13, settling in East Los Angeles shortly before the 1968 Chicano protests for educational equality...
J’ai pleuré devant la fin d’un manga — Galerie Edouard-Manet de Gennevilliers — Exposition — Slash Paris Connexion Newsletter Twitter Facebook J’ai pleuré devant la fin d’un manga — Galerie Edouard-Manet de Gennevilliers — Exposition — Slash Paris Français English Accueil Événements Artistes Lieux Magazine Vidéos Retour Précédent Suivant J’ai pleuré devant la fin d’un manga Exposition Céramique, dessin, film, lithographie / gravure.....
To the Cardinal Gods: Central Axial Consecration (Site 6) is from a 2017 series made by Ren Zi during a residency in the Arctic Circle...
Burning Questions: Tech in Performance: The Great Leveller or The Great Unequaliser? | ArtsEquator Thinking and Talking about Arts and Culture in Southeast Asia ArtsEquator Viewpoints July 28, 2020 Using technology in performance isn’t new, but COVID-19 has forced more artists to explore the digital medium, dealing with lag, latency and liveness while rethinking audience engagement and accessibility...
Coherent divergence at John Molloy Gallery – Two Coats of Paint Carter Hodgkin, Dither 12, cut paper collage with acrylic paint, inkjet & protective varnish on canvas over panel, 24 x 24 inches Contributed by Jonathan Stevenson / “Mutability,” a thoughtfully conceived and curated group show at John Molloy Gallery, by its title contemplates the elastic aesthetic capacities of painting, drawing, and sculpture...
A young settler girl, dressed in a bridal outfit for Purim, stands in a street in Hebron waiting, perhaps for her parents or other children to join her...
Chase ATM emitting blue smoke, Bank of America ATM emitting red smoke, TD Bank ATM emitting green smoke was shot in the American Southwest at Mid-century modern architectural structures that were built to house regional independent banks and have since been bought up by Chase, Bank of America, and TD Bank...
New on ArtsEquator in 2021: Hot List, Teaser Tuesday and Cakap-Cakap | ArtsEquator Thinking and Talking about Arts and Culture in Southeast Asia ArtsEquator Viewpoints December 4, 2020 ArtsEquator is introducing three new series in 2021 – Hot List, Teaser Tuesday and Cakap-Cakap – to help promote shows, events and other arts and culture programmes in Singapore and the rest of Southeast Asia...