Zarina Bhimji, Flagging It Up
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.
Her art communicates with the urgency that comes from working something out for yourself, rather than having been told what and how to think. Yet beauty is her principal method: ‘when you create something beautiful, you’re taking charge’.
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 influences on Bhimjis work and the research behind it.
Zarina Bhimji, is a British artist who lives and works in London. Bhimji received a BA in Fine Art from Goldsmiths, University of London and a MA in Fine Art from the Slade, University College London. She was DAAD’s Artist-in-Residence 2002, exhibited in Documenta 11, the Venice Biennale in 2003 and was nominated for the Turner Prize in 2007. Awards include the Paul Hamlyn Foundation Award in 1999 and the Rauschenberg Residency award, 2014. She has had solo institutional exhibitions at Whitechapel Gallery (2012), Tate Britain (2018) and Sharjah Art Foundation (2020). Kamila Shamsie is the author of eight novels including Burnt Shadows (2009), A God in Every Stone (2014) , Home Fire (2017) which won the Women’s Prize for Fiction) and Best of Friends (2022), and is also a Vice President of the Royal Society of Literature Allison K. Young is Assistant Professor of Contemporary Art History, and an affiliate faculty member in African and African American Studies (AAAS) at Louisiana State University, Baton Rouge. Her scholarship, curatorial practice, and arts criticism focus on postcolonial and contemporary artists and art histories of the global South.
280 x 210mm landscape
65 colour illustrations
Sarah Wood, Project Paradise: Limited Edition Poster
Limited edition poster:
Black and White Oil Conference Emergency Sign, 2023
Ink on 160gsm uncoated paper42 x 59.4 cm
An extract from a letter between Richard Demarco and Joseph Beuys,
23 April 1974 (Demarco Archive, Scottish National Gallery of Modern Art).
With thanks and acknowledgement to Richard Demarco.
Sarah Wood works with found documentary images to interrogate the relationship between the narrating of history and individual memory. For Fruitmarket, she has made a new film Project Paradise, inspired by the Black and White Oil Conference organised by Richard Demarco in Edinburgh in 1974 at which Joseph Beuys and Buckminster Fuller both spoke. The conference took place in the context of the imminent exploitation of oil and natural gas in the North Sea. It posed a number of questions and made observations frighteningly relevant now as we try to find ways to combat climate change, mitigate its ravages and keep fossil fuels underground.
Demarco asked: ‘Can the experience of art help? Can the artist play a role? Can the artist make sacred the land and the waters around the Scottish coasts so that they will not be exploited? Have we a visionary artist who can do for Scotland what Constable did for England and make sacred what is called landscape country, and no doubt safe, for the moment anyway, from the hands of developers?’
50 years on, Wood’s film examines the idea of Paradise as a way of talking about how we relate to nature now as often something simply to commodify. She argues that our current panic about resources is about the end of an era rather than the end of the planet. Instead the film invites viewers to open up thought and imagine how we might want to live in the future. Projected as a portal into the floor of the warehouse, Project Paradise invites midwinter audiences to gather round the light of the image and come together as participants in the reimagining of a new way of living in the world.
Club Life: Return to Devil Mountain
Club Life: Return to Devil Mountain
Published August 2023
Authors: Neil Cooper , Fred Deakin
Limited edition of 180 available
56pp, full colour
Andrew Miller – Stack II
Andrew Miller – Stack II – 2021
Light comes fully assembled with 3m flex and bulb. Electrician recommended for fitting.
Edition of 11
33 x 40 x 38 cm (approx., excluding flex)
Signed and numbered by the artist.
Andrew Miller (b.1969, Dartington) is a Glasgow based artist working with sculpture, drawing, photography and installations. Through a process of drawing, altering, transforming and making he seeks to gain an understanding of the ambiguity of the relationship between form and function. Miller often salvages, reassembles and re-presents familiar objects, playing with our expectations of form and function, and asks questions about the way objects are placed, valued and used.
Stack II is a sculpture/form/light which allows the user the freedom and flexibility to arrange and rearrange the perspex components into a work of varying forms and colour. Constructed from irregular hexagonal shapes repeated in six different sizes and three different colours, the light is bought assembled but can be endlessly rearranged.
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