Zarina Bhimji (born 1963) is a Ugandan Asian photographer, based in London. She was nominated for the Turner Prize in 2007, exhibited at Documenta 11 in 2002, and is represented in the public collections of Tate, the Museum of Contemporary Art in Chicago and Moderna Museet in Stockholm.
Table of Contents
- 1 Life and work
- 1.1 Zarina Bhimji (Whitechapel Exhibition Catalogues)
- 1.2 No Place (Like Home) : Zarina Bhimji, Nick Deocampo, Willie Doherty, Kay Hassan, Kcho, Gary Simmons, Meyer Vaisman, Kara Walker
- 1.3 Zarina Bhimji: Lead White
- 1.4 Zarina Bhimji
- 1.5 Biographies & Space: Placing the Subject in Art and Architecture
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Life and work
Born in Mbarara, Uganda, Bhimji was educated at Leicester Polytechnic (1982–1983), Goldsmiths’ College (1983–1986) and Slade School of Fine Art, University College London (1987–1989). Her accomplishment appeared in Creative Camera in April 1990, and in a landmark issue of Ten.8 magazine as early as 1992.
In 2001, Bhimji had her first solo exhibition in the U.S., Cleaning the Garden, at Talwar Gallery, New York and won the EAST tribute at EASTinternational agreed by Mary Kelly and Peter Wollen.[citation needed]
She participated in documenta 11 in June to September 2002 with her 16 mm film.
From 2003 to 2007, she travelled widely in India, East Africa and Zanzibar, studying authenticated documents and the stories of those who formed British faculty in those countries, carrying out interviews and taking photographs.
In 2003 Bhimji customary the International Center for Photography’s, Infinity Award in the Art Photography category.
In 2007, she was shortlisted for the Turner Prize for photographs of Uganda. Their theme was the expulsion of Asians from the country by Idi Amin and the subsequent loss and grief caused. The photographs were exhibited at Haunch of Venison gallery in London and Zurich. Her Turner Prize display included a film, Waiting, which was shot in a sisal-processing factory.
The Tate gallery describes her work:
In 2012, the first major survey exhibition of her enactment was held at Whitechapel Gallery, London, January–March 2012, which traced 25 years of her work. It opened next the joint premiere of her film, Yellow Patch (2011), at The New Art Gallery Walsall and the Whitechapel Gallery. The film was inspired by trade and migration across the Indian Ocean. An accompanying monograph was published by Ridinghouse.
Consisting of on summit of 100 unframed photographs and multiple embroideries, Lead White is a meditation on power and beauty. It is the top of a decade-long chemical analysis conducted greater than multiple continents, delving into national records to take possession of details of words, lines, stamps and embossing. Bhimji creates poetic narratives by editing and repeating these details, as if constructing a musical composition, to probe what archives do, how they categorise and how they circulate institutional ideologies. The acquit yourself also combines digital and innate crafts – including the use of embroidery for the first epoch in Bhimji’s practice – drawing attention to textures and traces, light and shadow. Her latest work, Lead White has been commissioned by Sharjah Art Foundation and supported by Arts Council England. Lead White was exhibited at Tate Britain from 19 November 2018 to 2 June 2019.
Last update 2021-08-06