Abstract:This essay explores the making of memory in two artworks dating from the later 1980s. Chila Kumari Burman’s Convenience Not Love (1986–87) and Zarina Bhimji’s She Loved to Breathe – Pure Silence (1987) are among many artworks by diaspora artists that imagine and reinvent individual, familial and collective memory, and in which autobiography connects to wider histories of voluntary and forced migration through which diverse South Asian communities arrived in post-war Britain. The essays draws on Sarat Maharaj's… Show more
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