As she embarks on a two-year fellowship with the National Gallery in London and the Holburne Museum in Bath, Malani is excited by the prospect of spending time with paintings by artists ranging from Piero della Francesca to William Hogarth as she researches and produces a new body of work to exhibit. The short story of the novel takes place a few years after independence and revolves around Bishan Singh, a Sikh inmate of an asylum in Lahore (the capital of the Pakistani province of Punjab) from the village Toba Tek Singh. Malani created the video installation during her residency at the Fukuoka Asian Art Museum – where the video play will be shown in their upcoming anniversary exhibition. Installation view in Amsterdam, 1998. Nalini Malani, Remembering Mad Meg, 2007 - 2011, Three channel video/shadow play with seven rotating Lexan cylinders, Centre Pompidou, Paris. This video installation depicts women wearing traditional outfits from various parts of the country and playing instruments together in harmony, interspersed with violent images relating to the anti-Muslim pogrom in Gujarat that Modi as chief minister did nothing to stop and even facilitated in 2002. Courtesy Nalini Malani; © Nalini Malani. Nalini Malani, one of India’s leading contemporary artists, draws upon literature, mythology and history to create art and characters that have relevance across cultures. Here, she has set up a studio from which she is coordinating her work around the world, including the display of an installation at the Whitechapel Gallery in London – ensuring that her vision is realised while allowing for sufficient physical distancing when it opens this month. Unsurprisingly, dividing India and Pakistan according to a binary distinction of Secular and Muslim failed to account for the numerous ethnic groups, multifarious religious points of view and array of languages. From September 1997 to January 1988 the non profit Eicher Gallery in New Delhi hosted “Mappings: shared histories.” This exhibition celebrated 50 years of independence and was created by Indian and Pakistani artists, including Sikhs, Hindus and Muslims. van Rooij, Two years ago, she discovered a new outlet – Instagram – and has been posting short animations that she makes on an iPad. By the 13th, the virus was spreading like crazy in Spain and we got the last flight out to Amsterdam. 2004: Devenport, Rhana, Phantasmagoria and the Lanternist, The video/shadow plays of Nalini Malani. Phoebe’s exquisite clay sculptures pulse with an irresistible energy as they gradually shapeshift over time shrinking, cracking,... Creatively speaking, the term ‘art’ can mean many things. Importantly, she organised the first ever all-female art exhibition in India. Husain, F.N. View Nalini Malani’s 89 artworks on artnet. Just enter your e-mail, and we'll let you know when there are interesting art history stories to read. DailyArt Magazine will use the information you provide on this form to be in touch with you and to provide you with updates, marketing and offers from our partners. She is also interested in the broader societal impact of traditionally masculine values – their effect on marginalised and dispossessed people in general and on the planet’s ecosystem. When Malani was just one year-old her family fled their home, travelling by boat and abandoning all their belongings, in order to seek refuge in Bombay. It’s a version, updated for the space and context, of the exhibition she unveiled at the Goethe Institute in Mumbai in October. Hamletmachine (1999/2000) is Malani’s second Video-Play. We will treat your information with respect. Burger Collection, Hong Kong. The influence of these encounters with the stage are evident in her work – in ‘erasure performances’ such as City of Desires (1992), a wall drawing that existed for only 15 days in Gallery Chemould in Mumbai, and Memory: Record/Erase (1996), made in just one night as a one-off performance of drawing and erasure – hinting at how memory and identity can be altered and manipulated. Betrayal and revenge metamorphose into a narrative about colonialism and religious fundamentalism. Robert Storr, Nalini Malani, 52nd Venice Biennial. As a result, there is no doubt that she is both an Indian artist and a global artist. ‘The bourgeoisie in India have been protesting as part of the Black Lives Matter movement, but very few people are looking at how marginalised people are treated in their own backyard,’ she says. From this beginning, her career shows a journey of increasing collaboration as well as expansion beyond just a canvas. Then, Ravana abducts Sita. ‘Partition created a bloody wound, and we’re still bleeding,’ she says. Nalini Malanis Werk - "In Search of Vanished Blood" (2012) zur dOCUMENTA (13) in Kassel. ‘I started to make these quick drawings in motion, incorporating a quote about what excited me at the time – whether it was political or personal,’ she says. Since the 1990s her work expanded to other forms of media like video, film and projected animation. It carries the memories of an impoverished woman who had to impersonate her dead husband in order to procure his job as a night watchman. A figure that Malani often returns to is Cassandra – the Trojan princess from Greco-Roman mythology. ‘My daughter, who is an experimental film-maker, suggested I put them on Instagram since they are less than a minute long.’. The British did not plan the partition well. Video then seemed like the most effective tool to reach out beyond the white cube. See available paintings, works on paper, and prints and multiples for sale and learn about the artist. Malani studied fine art between 1964 and 1969 at the prestigious Sir Jamsetjee Jeejebhoy School of Art, which includes artists M.F. Photo: Johan Pijnappel. While a student Malani was part of a studio in Bombay which was shared by artists, musicians, actors and dancers. By drawing cross-cultural links Malani’s mythologies coalesce into symbols that stretch beyond their original dimensions and are of direct relevance to contemporary events. In another recent video a bent, curled, human figure made of bones smashes its head against the floor until it explodes, with the words ‘I am not a skeleton’ screaming out around it. ‘My mother’s family was Sikh and my father’s were theosophists, both religions in which there was no caste, so the idea of caste hadn’t really entered my consciousness until then.’ After that, she returned to India – as she had always planned. Although the art scene in India was still centred on traditional techniques, Malani’s shift wasn’t primarily about antagonising the establishment, or even about exploring and experimenting with new styles and materials. Scenes of the tragic Mumbai riots, are on the final two panels. During her studies, Malani had a studio at the Bhulabhai Memorial Institute, a multidisciplinary space in which she encountered and worked closely with actors, musicians, poets and dancers – and saw how theatre connected with the kind of audience that wouldn’t normally enter the city’s elitist galleries spaces. The play is a contemporary reinterpretation of the Greek drama "Medea." “I have no direct experience of Partition. In her Whitechapel work, one of the main themes explored is ‘malevolent or toxic masculinity’ (a term she prefers to ‘patriarchy’, which she argues carries suggestions of being paternal, caring and concerned) and its dominance around the world. You can see visions of sickness, climate change and mass exodus; bodies and small writhing creatures feature. While the medium of video certainly lends itself to cutting, pasting and mixing together ideas from many sources, Malani points out that this is how art has always been created – it’s just that Western artists such as Picasso have long been given more leeway to co-opt and plunder ideas from other cultures than artists from places that were colonised, and who are considered derivative if they do the same. She is both prolific and internationally acclaimed. Nalini Malani, dOCUMENTA 13 In Search of Vanished Blood, 2012 6 Channel Video/Shadow Play, with 5 rotating reverse painted Mylar cylinders, Sound, 11 minutes. The sectarian violence that ensued, by some estimates, took more than two million human lives. The demolition in 1992 of the Babri mosque in Ayodhya by Hindu fundamentalists set off a wave of sectarian violence that resulted in 2,000 deaths. The coronavirus pandemic has forced a rapid move into the digital realm upon much of the cultural world, but it’s a shift that Nalini Malani – who has experimented with technology in her work since the 1960s – was more than prepared to embrace. The first solo exhibition in Europe by Nalini Malani, one of India’s most prominent artists, comprises paintings, wall drawings, video installations and a shadow play. Your email address will not be published. Hamletmachine works from the postmodernist retelling of Shakespeare’s Hamlet by the German playwright Heiner Müller (1929 – 1995). Today, Nalini Malani continues to live and work in Bombay. It was a backdrop for the Medeaprojekt (1991 – 1996) It combines depictions of anthropologists (left-side) with scenes from the Greek tragedy Medea (centre). She was born in 1946 in Karachi, a year before the city became part of the new nation of Pakistan. The story is about a man who is born from salt and divided into four parts, which symbolise the Hindu caste hierarchy. It was for a performance/installation piece which took place in 1993. She mentions rapes and murders in India, but has also been reading The Five (2019), a book by Hallie Rubenhold about the women killed by Jack the Ripper, whose crimes took place in Whitechapel near the gallery, considering how the categorisation of women as either pure or tainted continues almost everywhere today. Malani even created a new form of art, the “video-play” (for which she coined the term), to allow her theatre plays to travel. 25. The exhibition provides an overview of Malani’s career and includes new work completed in 2007. In fact a year ago they had given her an award for catching a thief. It’s a well of inspiration, she argues, on which we all have a right to draw. Throughout her career Malani has exhibited in over seventeen countries. Find an in-depth biography, exhibitions, original artworks for sale, the latest news, and sold auction prices. “I often work with existing female characters from mythology, literature or history, to reintroduce male-dominated history from a female point of view”. Preview and subscribe here. DailyArtMagazine.com is your daily dose of beauty and inspiration based on the genius and talent of the great artists of the past. This work is Malani’s interpretation of ‘The Job’ by Bertolt Brecht, set by the writer in the period of the depression in Germany. Lecture by Chus Martínez and a dialogue between Nalini Malani and Arjun Appadurai on 10 January 2012 at Jnanapravaha Bombay. Malani turned again to new media around this tumultuous time. […] Why don’t you try it, folks, / And see what it would do to you?’). The short video clips from these documentaries were given to Malani gratis by those wanting to give a voice to the voiceless. Nalini Malani, dOCUMENTA 13In Search of Vanished Blood, 20126 Channel Video/Shadow Play, with 5 rotating reverse painted Mylar cylinders, Sound, 11 minutes. Malani is a trailblazer for female Indian artists; her art challenges the role of women in patriarchal societies across the world. Gaitonde and architect B.V. Doshi, as well as more recent artists such as Reena Saini Kallat, among its alumni. The video includes extracts from the famous short story of the same name, by Saadat Hasan Manto. Sita-Medea (2006), Nalini Malani. In her Whitechapel work, one of the main themes explored is ‘malevolent or toxic masculinity’ (a term she prefers to ‘patriarchy’, which she argues carries suggestions of being paternal, caring and concerned) and its dominance around the world. Harada Nobuo, a Butoh (a type of Japanese dance theatre) performer from Fukuoka, is the protagonist in the video. She explored varied media to reach out to a larger audience. The influence of these encounters with the stage are evident in her work – in ‘erasure performances’ such as. “Understanding the world from a feminist perspective is an essential device for a more hopeful future, if we want to achieve something like human progress.”. Alongside her innovation of video-play, Malani also developed the form that she calls “video/shadow play.” This places her signature reverse painting onto rotating transparent cylinders. “Over an extended career, Malani has been an unremitting voice for the silenced and the dispossessed, most particularly women globally. (2018), Nalini Malani. ‘I understood my country better from the outside; for example, when a friend gave me a book by socio-anthropologist Louis Dumont about the caste system, it was an eye opener,’ she says. She began experimenting with new media early on in her career – in 1969, at the Vision Exchange Workshop, an experimental multidisciplinary space in Mumbai, she made a series of colour, stop-motion films called Dream Houses, exploring the ideological possibilities of modernist architecture, inspired by the works of Charles Correa and Buckminster Fuller. Can historic houses tell more stories than they have done. Nalini Malani, Listening to the Shades, (panel 42 of 57), 2008, acrylic, ink and enamel on acrylic sheet. ‘The compendium of all cultures is a lexicon for all artists.’. But it takes hundreds of hours and thousands of dollars a month to keep DailyArt Magazine going. Sita, the other protagonist in the Stories Retold series (an ongoing project which this work is part of), is from the Hindu epic Ramayana. Over the course of our conversation, she talks about the impact of the pandemic on her home country – how the rapid implementation of lockdown and the sudden halting of public transportation left migrant workers stranded in cities and forced to walk vast distances to return to their home towns and villages, and of the impossibility of households keeping apart from one another in poorer, more crowded neighbourhoods. Untitled I is one of three works in Tate’s collection from a series of black and white photograms by the Indian artist Nalini Malani (see also Untitled II [Tate P82089] and Untitled III [Tate P82090]).The three images all date from 1970 and are visually similar in nature: monochromatic geometric studies in light and form. For example, it was brought forward by a year and the border was hastily decided in just five weeks. Medea and Sita are archetypes of betrayed women. So if you find any joy and inspiration in our stories please consider a modest donation — however much you can afford, every cent counts and helps us a lot. Malani visited New York in 1979. Medea is an alchemist-witch-princess in Greek tragedy. Photo: G.J. Please let us know all the ways you would like to hear from us: You can change your mind at any time by clicking the unsubscribe link in the footer of any email you receive from us, or by contacting us at zuzanna@dailyartmagazine.com. Malani’s Stories Retold project works with a world-wide range of legendary women: Greco-Roman figures like Medea and Cassandra, Bhagavata Purana, and Alice in Wonderland. Then, light, video and sound are put into the mix. The floor of the space has a projection on a bed of salt, referencing Gandhi’s salt march (1930). The partition was meant to solve social issues relating to resentments between religious groups. Hema Malini (born 16 October 1948) is an Indian film actress, writer, director, producer, dancer and politician. For revenge she murders their two sons. Kiran Nadar Museum of Art, New Delhi. Her specialisms were Art, Archaeology and the Roman poet Ovid. ‘My inspiration was Diego Rivera, who returned from France to Mexico to be part of the government-sponsored muralism programme, depicting the people of his country – images that the people could identify with.’. She began experimenting with new media early on in her career – in 1969, at the Vision Exchange Workshop, an experimental multidisciplinary space in Mumbai, she made a series of colour, stop-motion films called, During her studies, Malani had a studio at the Bhulabhai Memorial Institute, a multidisciplinary space in which she encountered and worked closely with actors, musicians, poets and dancers – and saw how theatre connected with the kind of audience that wouldn’t normally enter the city’s elitist galleries spaces. ‘Because of the way it’s used in popular cinema, techniques such as collage and montage are understood well in India and are part of the common language,’ she says. On fakery and the Russian avant-garde, The real secret London? After prolonged captivity, Sita’s husband rejects her because he thinks, wrongly, that she has committed adultery. Currently in Amsterdam, where she and her husband, who is Dutch, have a home, Malani’s main residence and studio are in Mumbai. 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