Title The Art of the Senses and the Making of a Diasporan Aesthetics: Zarina

Bhimji's 'She Loved to Breathe–Pure Silence', 1987-2002

Type Article

URL http://ualresearchonline.arts.ac.uk/6557/

Date 2003

Citation Cherry, Deborah (2003) The Art of the Senses and the Making of a

Diasporan Aesthetics: Zarina Bhimji's 'She Loved to Breathe–Pure

Silence', 1987-2002. Tessera, 32. pp. 34-45. ISSN 1923-9408

Creators Cherry, Deborah

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The Art of the Sensesand the Making of aDiasporan Aesthetics:

Zarina Bhimji's She Loved to Breathe-Pure Silence,1987-2002

DeborahCherry

She Loved to Breathe-PureSilence est une lEuvre d'environnementd'abordcreeepar ZarineBhimji en 1987danslaquellequatrepanneauxit doublecote sont suspendusau-dessusdu curcumaet du chili. L'essaide Cherryexplorele role d'uneinterpellationmulti-sensorielledansla conceptiond'uneesthetiquede la diasporaet d'un travail artistiquequi pensela migration.

She Loved to Breathe-PureSilenceis an installation piece first createdbyZarina Bhimji in 1987. Four panelswere suspendedfrom the ceiling onfine translucentstrands(figure 1). Turmericandchili powderswerescat-

Figure1. ZarinaBhimji, SheLovedto Breathe-PureSilence(1987)Mixed mediainstallation,Victoria andAlbert Museum,London.

Exhibitedat Towardsa BiggerPicture (1989),Victoria andAlbert Museum.Photograph:Mark Haworth-Booth

TheArt of the Senses. 35

teredon the floor below, as is shownin figure 2. The panelsaredouble-sided;figure 3 showsthe reverse.Betweentwo piecesof roughly cut per-spexare photographslaid on muslin, and in one,surgicalgloveswith asilk-screenedprint on the otherside,againlaid on muslin.On all four arelettrasettedcharactersin blue andred. The photographs,printedon bro-mide paper,portray from left to right jewellery laid on muslin, a slipperanda smallbird laid on grass,a bird lying on or in a net;andon theotherside,now viewing from right to left, a smallbird outof focus,two slippersandabird, andlastly, soreturningto thepanelwith which I began,asmallbird laid on grass.

. " • <;

" .:• ..,

Figure2. ZarinaBhimji, SheLovedto Breathe-PureSilence(1987)Mixed mediainstallation,exhibitedat

Towardsa BiggerPicture (1989),TateGallery,Liverpool.This showsthe redandyellow spicesscatteredon the floor adjacentto the panels.

Installed,the panelsfloat in space,moving slightly asspectatorsmoveroundthem.Little folds andstrandsof muslinescape;the perspexis onlylightly pinnedat eachcorner,exertinglittle pressureon the paper,fabricand gloves caught in-between. Bordering and borderless,the panelsframe, but don't contain.The muslin skims underand over the perspexand paper,at times translucent,at othersa filmy veil, a doubledscreen.Transparentmaterialsare overlaid with gauzyopacity. Fabric is duplici-tous,seenin itself and in its image;it mimics paperas the surfacefor a

36 . Tessera

silk-screenprint. This play with vision recursin the photographicplaywith focus, at momentssharpand clear,at othersmisty, veiled, opaque.This hoveringbetweenclarity andanintentionalambiguity,intensedetailandirresolutionasksviewersto reflecton what theyseeat the sametimeastheymaywatchthemselveswatching.Theperspexscreenshaveaslightsheen(noticeablein figure 3), reflecting spectatorsback to themselveswhile bringing theminto thework asparticipants.The perspexis contra-dictory; offering a window to what lies beneath,it is anenclosingbound-ary andanopeningto what lies beyond:theroom,its sourcesof light, thefigureswithin it.

Neitherstill nor fixed to a surface,the panelswaverestlessly;they aresurroundedby themediumof breath,theair inhaledandexhaledby theirviewers. She who loves to breathe is counterpointed,accompanied,watched,supplementedby thosewho are.The letteringinvites the audi-enceto comeup close.Yet paradoxicallythis very proximity complicatesthe actof looking andreading,for anysuddenmovementor disturbancein theair setsthepanelson themoveagain.Writing of their installationatthe 1988 exhibition entitled Essential Black Art, Mark Haworth-Boothremarked,"the eye scannedthem [the panels]as if they were on a filmscreen:as part of a surfacerather than the contentsof a frame" (qtd. inBhimji, I Will AlwaysBe Here n.p.). While this suggestsa kind of viewingat oddswith that given to the static, fixed image,it is less film with itsrapid sequencingof still imagesinto moving pictureswhich offers themostusefulanalogy.Rather,the closestanalogyfor the viewing practicessolicitedby this work is "scanning/'thatelectroniccapturingandrelayofthe imagewhich in its replication,but not duplication,suggeststhe prac-ticesof culturaltranslationwhich areat work here.Theliquid productionof still photography- producingthe imagein light to set it on film andarrestit on paper- is herereleasedbackinto motion. The imagessway,flicker, gleam,almost imperceptibly,yet they remainstill imageson themove,eachonewith a separatemomentumof its own.

By hangingtheworks, the artist makesa spatialgesture,completedbythe interventionon the floor, the scatteringof the spices.Haworth-Boothcomparesthis gestureto JacksonPollock's painting techniques(qtd. inBhimji, I Will AlwaysBeHeren.p.),andaclosercomparisonmightbeHelenFrankenthaler'sstainingsinceturmericis usedfor its colouraswell asforits savour. Laid out as colour, the spicesinvite looking; recognisedasspices,theyincite andteasethesensesof smell,touchandtaste.Reprising

TheArt of the Senses. 37

minimalist andconceptualart'suseof the floor/ground,the spiceswiththeir streakedandlayeredhorizontalitycompleteandrespondto thever-ticality of the panels;the coincidencesof the two substancesmimic theenfolding and scrunchingof the fabric in one of the panelsabove.Thespicesmark and transformthe surfaceof the floor, bringing it into thework; and they alsoseta spatialdefinition, sinceparticipants/ viewersarereluctantto treadon them.For this work, so concernedwith edges aswell asborder-crossings,theboundariesareambiguous,horizontallyandvertically. The hangingpanelsequally offer a reply to Eve Hesse'ssus-pendedsculptures,suchas Contingentof 1968-69.As VanessaCorby hasrecentlypointedout, Eve Hesse'sis an art concernedwith, indeed,con-tingenton the destructionof EuropeanJewry in the first half of the 20th

century(Corby36-42).SoBhimji's modelis not only anart historicalone.But for Bhimji, who hasexpressedher admirationfor this artist, traumaand loss are also knotted into the dislocationof family relationshipsinmigrationincluding that of the SouthAsian communityfrom UgandatoBritain in the1970s.Thevisastampreplicatestheartist'sown.

***SheLovedto Breathe-PureSilencewaspurchasedby theVictoria andAlbertMuseum,London (PH 7208 ABC [1987]) and it is now housedin theDepartmentof Photography,PrintsandDrawings.Storedin thecollectionor placedon standsfor viewing in the Print Room, it is necessarilydis-mantled(figures3 and4). The filamentshavebeensnippedoff. Restlessmovementhasbecomestasis,flickering stilled to fixity. Perspectiveandviewing positionhavechanged.Suspended,thepanelsprovokedisorien-tation to a senseof physicalbalance:a smallbird, emptyslippers,laid on"thegroundbeneathherfeet" (thereferenceis to SalmanRushdie'snovel)hoverin mid-air.Somethingseemsto bemissingfrom thedynamicchargepresentin the installationbetweenthesurfaceof thefloor, andthevertig-inous perspectiveof the photographs(notablein figure 1), takenwith acameraheld to a facelooking vertically downto thegroundor awkward-ly, perhapsat a slant, at jewellery laid out on the rise and fall of cloth.Furthermore,the connectionbetweenthe panelsand the spiceson thefloor is broken.To acknowledgethis is to realisethewaysin which this artwork asinstallationpowerfully inscribedwithin it thepositionalityin andfrom whichit wasmade.To enterthecollectionsof themuseum,theinstal-lation becomesphotography.How elsecould it bepreserved?

38 . Tessera

In From Margin to Center: The Spacesof Installation Art, Julie Reisscom-mentsthat photographicdocumentation,alongwith eyewitnessreports,allowsfor thereconstructionof temporaryandephemeralpieces(xvi). But

Figure3. ZarinaBhimji, SheLovedto Breathe-PureSilence(1987)4 panelsdisplayedfor studyon standsin the Print Room,

Victoria andAlbert Museum(2002).Photograph:theauthor.The imageshowsthe reverseview; the nearestpanelwith the visastamp

hasthesurgicalgloveslaid on muslinon its otherside.

all too often what remains,andwhathasenteredthe catalogue,arepho-tographsof partsratherthanimagesof the whole.The EssentialBlackArtcatalogueoffersa fragmentedform. And this is not unusual;photographsof Mary Kelly's Post-PartumDocumentand Interim, for example,generallyprovidepartial views of panelsratherthaninstallationshots.While pho-tographywill inevitablyplay a part in accountsof installationart, thereismuchthatwill beelusive.Installation,asI amsuggesting,fits awkwardlyinto archivespreoccupiedwith andworking in the two-dimensional.Fortheartist'sfile thespicesappeartransferredon to 35mmslidefilm. I thinkthat it's worth imagininga historyof installationart which doesn'treduceit to photography,if only becausein making She Loved to Breathe-PureSilenceZarinaBhimji createda multi-sensoryart work.

TheArt of the Senses. 39

Installationart hasbecomean importantarenain post-colonialartisticpracticeandculturalcriticism. It offerspossibilitiesfor deconstructionandreconfiguration, for remapping history and rehistoricizing space, for

Figure4. Zilrina Bhimji, SheLovedto Breathe-PureSilence(1987)4 panelsdisplayedfor studyon standsin the Print Room,

Victoria andAlbert Museum(2002).Photograph:theauthor.The photographalsoindicatesthe decompositionof the surgicalgloves.

exploring the politics of location and the location of culture. Invariablydescribedasa hybrid art, installation'spotentialfor bringingtogetherdis-parateobjectsandimageshasenabledthe explorationof a diasporanaes-theticsconcernedwith thescatteringandre-collectionof migration.

Sensememories,asLauraMarksremindsus,areelusive,unpredictable,andalmostimpossibleto harbour.But becausethey may promptmemo-ries whennothing elseremembers,they havecometo play a significantrole in diasporanaesthetics.While someodoursintensifywith decompo-sition, thescentof thedriedandgroundspicesin SheLovedto Breathe-PureSilencedissipatesfrom the moment they are releasedinto the air. Yetthough the aromaticsmell disappearsalmost immediately,their colourremains;only whenthespicesaresuspendedin liquid cantheir flavour betastedandtheir savourrevived.Theinstallationconjuredratherthanpro-vided smells, the sight of the spicesprovoking an imaginativearomatic

40 . Tessera

sensationor memory.Thissensationof a smellwhich isn'tactuallypresentrecursin anotherwork by thisartist,I Will AlwaysBeHere (992),for whichtiny cottonkurtaswerescorchedandburnt.Smelldoesn'thaveto be pre-sent.Ratherits tracemay trigger a response.This canbe the case,evenwheretheartistpurposefullydepletesthesmell;asHal Fosternotes,sub-stitutenon-aromaticmaterialshaveoftenbeenpreferredto raw or decom-posingexcreta,freshslashesof blood,semenor vomit (Foster160).It's nota questionthenof presenceor absence,authenticityor simulacra,mind orbody. Thesenseof smell, like thatof sound,tasteor touchcanbe teased,or provoked,in the imaginationasmuchasin thebody.

The changesto the spicesparallel the changeswhich havetakenplaceover time. The muslin hasslippedin the frames.Colour hasbeentrans-formed: once there were sharpcontrastsbetweenred, blue and white,counteredby thepinkishtingesto themonochromephotographsandthered andyellow spices.Thewhite fabric hasyellowed.Thegreatesttrans-formationhasbeento the panelcontainingthe surgicalgloves(figure 4):astheyhavedecayedthegloveshavefragmented,scatteringparticlesintothe muslin's folds, and as they havediscoloured,they havestainedtpefabric unevenly.The light tinting to the birds, addedby the artist, hasalmostdisappeared.Although this ageingof the work wasnot, perhaps,anticipatedby the artist, Zarina Bhimji has admitteda predilectionformaterialswhich decay. "I did not choosethe materialsfor their sensualqualities. I am attractedmore to their vulnerability, the possibility ofdecay" (the artist in conversationwith SoniaBoyce, in I Will Always BeHere).

***Time in the work see-sawswith the time of the work, the time it takestosee/readit. Viewersmustcomecloseup to the work to readthe text, allthe moredifficult becauseof theswayingof the panelsandthe slitheringof thefabric. Thetextsmustbeteasedout,studiedovertime,perusedwithcare.As Mieke Bal hassuggestedin QuotingCaravaggio,this practiceof"looking-in" slowsdowntheviewer,arrestingthepaceof gallery-looking.Thewordsdip andfall, seemingto echoinflectionsof speechandtimbresof voice. Placedon one side of the panels,the lettering can be seeninreverseon theother.Fromleft to right it reads,

TheArt of the Senses. 41

SLOWLY SHE RAISED HER ARM, THIN DARK BROWN IN THESUN-HAZE CIRCLED BY TWO HEAVY GOLD BANGLES. THISHAD COME FROM HOME - EVERY ISMAILI GIRL WORE FROMBIRTH

IT WAS THE MOTHER AND OTHERS,AS THEY WERE ALIKE -THOSEWATCHFUL, WRATHFUL WOMEN WHOSEEYESSEARED- LAID BARE THOSETONGUESTHAT LASHED THE WORLD INUNREMITTING DISTRUST

THE ANGER TURNED IN-WARD, WHERE COULD IT GOEXCEPTTO MAKE PAIN? IT FLOWED INTO ME WITH HER MILK

EACH MORNING AT 5AM THEY SCRUBBED THE FLOOR -SOME ONE OFFEREDHER A DAY'S WORK. SOMETIMES THESEWHITE PEOPLEON THE WAY TO WORK LAUGHED AT THEIRINDIANESS ....SHOUTEDPAKI: AAPRI BHENO, SUCKEDTHEIRTEETH DISMISSINGTHEM.

Thework doesn'tmakea sound,yet it is filled with voices.How arewe toheedthesetexts: asunconnected,asoneby one,in sequencefrom left .toright, or right to left? Are theyspokenin thefirst person,in conversationor dialogue,or reportedas third personnarrative.They seemto switchbetweenall three,encompassingthe intimaciesandbetrayalsof mothersanddaughters,theinnerspeechof the individual subject,theforcefulnessof spokendeclaration,the angerof response,the violenceof racism.Theartist hassaid that in making the work shevisited Heathrownumeroustimesto talk to Asianwomenworkingattheairport,whichis for manythesiteof entry into Britain. At moments,the voicesareclose-up,akin to theintensityand intimacy of the photographicdetail. Like the photographs,they inscribe positionality, a perspectivewhich watchesthe "watchful,wrathful women/,observes"thesewhite people,"hearsthe sharpintakeof breath and ripple of saliva. They offer no closure or resolution.Hovering irresolutelybetweenaudible speechand visible writing, thetexts enterthe work into an aural culture,anothermarkerof this multi-sensoryart work.

Theimagesin thephotographs,close-upsseenfrom above,comeinto anew vision, seenwith, alongside,beneath,through the texts. Ordinaryeverydayobjectssuchasa slipperandjewellerycometo haveextraordi-narysignificance.Textsandtextiles,imagesandspices,intimatea haunt-ing themeof migrationacrossbordersandbetweencultures,echoedin the

42 . Tessera

shifting, restlessmovementof thepanels,thedisturbanceof thereflectionson their surfaces.Zarina Bhimji has statedher desire to createworkswhich bring togetherobjects,fantasiesand memoriesfrom EastAfrica,India andBritain (I Will AlwaysBeHere).Theslipperon thegrassdelicate-ly pointsto thecomplexitiesof dislocationandrelocation.Thespiceshavemigratedacrosstheglobe:asvaluablecommoditiestheyhavebeensoughtafter by tradersand merchants,fought over in imperial conquest.Andwhile they addpungencyto many dishesproducedin SouthAsia, bothturmericandchili arealsousedasadditivesin thewesternfood industry.But their usesgo beyondtheculinary.For theartistchili "hasmanyover-tones- it is strongandpassionate"(Artist's File). And in recentyears,asshehasnoted,it was usedby SouthAsian peoplein Britain to ward offstreetattackers:chili stingstheeyesbut causesno physicalharm.

A longphilosophicaltraditionin thewesthasconsideredthevoiceto bea personalandintimateexpressionof the self. Yet the voice is communalaswell aspersonal.Havinga voice andbeingheardarecloselylinked tohavingindividualandcollectiverightsandsocial!political representation,as JonathanRee suggests(1-11). Questionsof voice and presencehayebecomeparticularlyimportantin post-colonialstudies,takinga leadfromthe magisterialinterrogationof GayatriChakravortySpivak's1988essay"Can the SubalternSpeak?"For Zarina Bhimji voice is juxtaposedtosilence.Silencecansuggesttranquillity, theabsenceof sound,thatabsorb-ing quietudewhich allows "looking-in." It canalsosuggestthedeafeningvoid when speechis no more. In this sense,She Loved to Breathe-PureSilenceis anelegiacmourningconjuringa rite of passageout of theair sheloved to breatheinto the silenceof death.Its title indicatesthe pasttenseand the small deadthrushspeaksof mortality. But silenceis also as anactive force of unhearing;it is the refusalor denialof communication,afailure in translation,anepistemicbreak.

On one panel there appearsan enlargedreplication of a visa stampwhich states:"The time limit on the holder'sleave to enter the UnitedKingdom is herebyremoved/ for Secretaryof State,HomeOffice, dated7 November1975(figure 3). SheLovedto Breathe-PureSilenceis thusa his-torical work; its photographshavingbeentakenin LondonandLeicesterin March1985and1987,thework alsorefersto a precisemoment12yearsearlier. The visa stampconferredan official permissionto remainin theUnitedKingdom.Caughtup in the traumasandupheavalsof decolonisa-tion, the artist's family, like many others, left Ugandain General Idi

TheArt of the Senses. 43

Amin's expulsionof theAsianpopulation.Theyran headon into the Britishgovernment'semergencylegislationon immigrationandnationality.

From 1962to 1981 public debatesandgovernmentpolicy on immigra-tion were fuelled by newspapercampaignsand the heightenedpoliticalrhetoric of the far right which stirred fears of Britain's nationalculturebeingswampedby outsidersand "floods" of immigrants.A raft of legis-lation differentiated on racial grounds between settlers fromCommonwealthcountries, prioritising accessfor white migrants andincreasinglyrestricting to other applicants.Over this period, anumberof highly public deportationsof SouthAsian womenwere con-ductedandthe "newracism"workedwith common-sensenotionsto pro-motediscrimination,high levelsof policing and repatriation.In the later1970s"virginity tests"were imposedon SouthAsian womenarriving atHeathrow.

It is thesecontentiouseventsto which the panelwith surgicalglovesalludes. In the artist's statementwhich she madefor the Victoria andAlbert Museum,ZarinaBhimji states"The work is not just aboutvirgini-ty tests- that is simply oneexampleand a reminderof what life canpeoutsidegallerywalls"; andsheprovidesa numberof quotationsfrom theBritish newspaper,The Guardian,publishedin FebruaryandMarch 1979:"Immigrantwomenarebeingsubjectedto intimategynaecologicalexam-ination on entry into Britain." "He waswearingrubberglovesand tooksomemedicineoutof a tubeandput it on somecottonandinsertedit intome. He said he was decidingwhetherI was pregnantnow or had beenpregnantbefore."Thesurgicalgloveslaid onfine, softmuslinpoint to inti-matephysicalexamination.Unlike theotherpanels,herethefabric hereisscrunchedandcreased,andthegloves,astheydecay,seemto beprobingits folds and tucks.A violating touchis introduced,only to be counteredby the touches,tastesandscentsof an intimacy in which womenfriendsand relatives rub the bride's skin with turmeric before her wedding(Bhimji, Artist's File), the scatteredspicesintimating a rite of passageinfemininity which parallelsthe rites of passagewhich accompanymigra-tion. Touch,so necessaryto the makingof the work is presentin its con-stituent parts: this artist who has so often worked with fragile anddamagedfabrics,hasspokenof thesensorypleasures,anxietiesandmem-orieswhich theyevoke.In aninterview,sheremarks,"textilesdo recurasa motif. I do takepleasurein them- thefeel of puresilk or cotton,almostlike skin" (I Will AlwaysBe Here). With touch, in its difference,comesa

44 . Tessera

declaredsexualpolitics inseparablefrom a politics of race,a politics resis-tant to thesexualisedandracialisedviolation of Asianwomen.

Although dramatic confrontationand racially motivatedattacksandmurdersincreasedin the 1970sand early 1980s,they wereaccompaniedby vigorousresistance,anti-racismdemonstrations,andstrongAsianandBlack women'smovementswhich questionedthe politics of visual repre-sentationaswell asattackingtheracistandsexistemploymentpracticesinwhichAsianwomenworkedin low-grade,low-paidjobs.Thechallengetowhite feminismtookplacein manyarenasincludingvisualculture.For theWhite Feminist (in responseto the F-stops Exhibition), a photo-textworkprinted on photographicpaperstaineda coppercolour, datesfrom thesameperiodas SheLovedto Breathe-PureSilence.For Jyll Bradley,"Bhimjiwasusingthe 'new' languagesof sight to discusswhatwassilenced.Forthe WhiteFeministaddressedthis in subtleways- theupsettingof a bowl;a foot penetratingthe frameof a tray" (Bradley23). What is significantinbothworks arethe crossingsandexchangesbetweentheoryandpracticein the forging of this politics of feminismre-definedaroundthe concernsof raceanddifference.As GayatriChakravortySpivakhassoargued,theoryandpracticeareinter-dependent,andif theorysituatesandstructurespractice,"no practicetakesplacewithout presupposingitself asan exampleof somemore or less powerful theory" (Post-ColonialCritic120).

In a landmarkessayon themediaimageryof SouthAsianwomen,firstpublishedin 1984,PratibhaParmeranalysedthe productionof a "pathol-ogy" of Asian womenpolarisedaround"hateful contraries":submissiveandtradition-boundvictims of forcedmarriagesandseclusion;exoticanderotic prostitutes;subjectsof deportation;estrangedwives andmothers.Shevoiceda not-uncommonconcern:"How do you representin imagestheresistanceandstrengthof Asianwomenin their daily strugglesto sur-vive theonslaughtof racism?"ForZarinaBhimji, SheLovedto Breathe-PureSilenceis not justa work composedof imagesor aboutimages,but a com-plex pieceabout the senses.This installation,which asksits viewers tolook upclose,to look into thework, andto observethedetail,alsoasksitsparticipants,caughtinto the work by seeingtheir reflections,to meditateonthesensesandtheinteractionsof touch,smell,taste,andsound,togeth-er with this changedmodality of seeing.And it is this multi-sensoryaddresswhich (re)connectsart to politics andsociallife. As theartiststat-ed,"Thework is not justaboutvirginity tests- thatis simplyoneexampleanda reminderof what life canbeoutsidegallerywalls."

TheArt of theSenses. 45

NotesThis paperwasgiven at the 2002annualconferenceof theAssociationofArt Historiansat a sessionon the senses.I amindebtedto FionaCandlinfor the invitation and to the sessionparticipantsfor their helpful com-ments,particularly RosemaryBetterton,Katy Deepwell,Dorothy RoweandClaraUrsitti. I amparticularlygratefulto Mark Haworth-Boothat theVictoria andAlbert Museumand to the InternationalInstitute of VisualArts for helpwith visualandarchivalresources.My warmestthanksgo tothe artist for so generouslydiscussingher work with me and for kindlyallowing its reproduction.

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