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 incisive analysis of migrant experience of dislocation and separation and the makings of a new life in a country in which elaborates a ‘suitcase language or system of representation’ to investigate what he called the ‘Art in Britain of the Immigrations’. This essay explores a ‘suitcase aesthetics’ to consider artistic investigations of dislocation and relocation, transit and settlement, crossing borders and questions of belonging. The suitcase suggests an aesthetic form of assembly, characteristic of diaspora art in the 1980s. In this art of collection and recollection images, objects, words, relics, remnants and traces are packed tightly together, 'pressed, strapped and squeezed in' as Maharaj suggests. Other works briefly considered include Sutapa Biswas's Infestations of the Aorta – Shrine to A Distant Relative, 1989, and the exhibition Intimate Distance at the Photographer's Gallery in 1989. The closing section reflects on the role of living memory in writing about art produced and first exhibited some thirty years ago, and the mnemonic lives of art works.

中文翻译：

---

手提箱美学：1980年代后期英国侨民艺术中记忆的形成

本文探讨了 1980 年代后期的两件艺术品中的记忆制作。Chila Kumari Burman 的 Convenience Not Love (1986–87) 和 Zarina Bhimji 的 She Loved to Breath – Pure Silence (1987) 是众多散居艺术家的作品之一，它们想象和重塑个人、家庭和集体记忆，其中自传与更广泛的历史相连各种南亚社区通过自愿和强迫移民抵达战后英国。这些文章借鉴了萨拉特·马哈拉吉 (Sarat Maharaj) 对移民流离失所和分离的经历以及在一个国家新生活的构成的精辟分析，该国家阐述了一种“手提箱语言或代表系统”，以调查他所谓的“英国移民艺术”。 '。本文探讨了一种“手提箱美学”，以考虑对错位和搬迁、过境和定居、跨越边界和归属问题的艺术调查。手提箱暗示了一种审美形式的组装，这是 1980 年代散居艺术的特征。在这种收集和回忆图像的艺术中，物体、文字、遗物、残余物和痕迹被紧紧地包装在一起，正如马哈拉吉所说的那样“压紧、捆扎和挤压”。其他简要考虑的作品包括 Sutapa Biswas 的《主动脉的感染——远方的神殿》，1989 年，以及 1989 年在摄影师画廊举办的展览“亲密距离”。闭幕部分反映了生活记忆在创作和首次展出的艺术作品中的作用大约三十年前，以及艺术作品的记忆生活。