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Gaitonde and architect B.V. Doshi, as well as more recent artists such as Reena Saini Kallat, among its alumni. Malani is a trailblazer for female Indian artists; her art challenges the role of women in patriarchal societies across the world. 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. The exhibition provides an overview of Malani’s career and includes new work completed in 2007. While living in the city, she attended lectures by Noam Chomsky, Claude Lévi-Strauss and Roland Barthes, encountered Simone de Beauvoir and Jean-Paul Sartre in cafes, and met film-makers such as Jean-Luc Godard – soaking up debates about the Black Panther movement, the Vietnam War or the Israeli-Palestinian conflict. The British did not plan the partition well. Malani’s layered narratives examine gender roles, race, transnational politics, and the ramifications of colonialism, globalization and consumerism. We love art history and, Language and Body: Transactions in the Construction of Pain. Perhaps more significantly she started thinking about India in a new way. “I often work with existing female characters from mythology, literature or history, to reintroduce male-dominated history from a female point of view”. Nalini Malani – interview: ... My husband is Dutch. The award was announced by Fundació Joan Miró and is named after the Spanish Painter and Sculptor Joan Miro. Politics forms the framework of her artistic life, perhaps because it has framed her life from the very start. – draws on these digital sketches. After prolonged captivity, Sita’s husband rejects her because he thinks, wrongly, that she has committed adultery. Over the past decade or so, her profile has become increasingly international, with solo exhibitions at, to name a few, the ICA Boston (2016), the Centre Pompidou in Paris – making her the first living Indian artist to have a show there – and the Stedelijk Museum, Amsterdam (both 2017), in addition to the major Indian institutions, such as the Kiran Nadar Museum of Art in New Delhi (2015) and the Chhatrapati Shivaji Maharaj Vastu Sangrahalaya in Mumbai (1999). Queensland Art Gallery, Brisbane. Popular knowledge of figures from mythology allows her to continue mythological narratives and use them as a metaphor for contemporary issues. Masculinity is also the central theme of ‘You Don’t Hear Me’, an exhibition currently at the Fundació Joan Miró (until 29 November) – she was the winner of the 2019 Joan Miró Prize. Nalini Malani on "Hanuman Bearing the Mountaintop with Medicinal Herbs""I'm attracted to the myths because, for me, it's a language to link with people. Malani doesn’t use the term ‘social distancing’, she explains during our video call in July, because it contains echoes of India’s caste system, within which certain social groups are ostracised. She was born in 1946 in Karachi, a year before the city became part of the new nation of Pakistan. By the 13th, the virus was spreading like crazy in Spain and we got the last flight out to Amsterdam. Cassandra has the gift of prophecy but is cursed to be ignored. Installation view in Amsterdam, 1998. 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. As the method required her to focus first on face, features and expressions, she says, it allowed her to create a strong sense of character in her figurative work. We were in Barcelona setting up my show from 1 to 13 March. As a result, there is no doubt that she is both an Indian artist and a global artist. Please visit her website to read excellent essays and further explore her work. 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. While a student Malani was part of a studio in Bombay which was shared by artists, musicians, actors and dancers. Like Medea she is a princess who follows her husband into exile. “I have no direct experience of Partition. She creates time-based installations that are extremely detailed, delicate, and multi-layered. See available paintings, works on paper, and prints and multiples for sale and learn about the artist. ‘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. 25. This was a result of her father securing a job working for Air India. For this exhibition Malani created Excavated Images (now in a private collection) out of a quilt cover her grandmother had used to carry belongings during the partition. If you find any joy and inspiration in our stories, with modest donation. 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. Preview and subscribe here. From this beginning, her career shows a journey of increasing collaboration as well as expansion beyond just a canvas. But her Instagram page is more than just a personal sketchpad. Back in India, she continued to explore techniques such as reverse painting on glass, which she learned from Bhupen Khakhar in 1988. Between 1987 and 1989  “Through the Looking Glass” visited Bhopal, New Delhi, Mumbai and Bangalore. Biographie Née à Karachi en 1946, Nalini Malani vit et travaille à Mumbai. Installation view at the Castello di Rivoli in 2018. He performs a prayer before becoming a cultural hybrid – wearing a Hindu dhoti and a western business suit. Le travail de Malani … The Medeaprojekt began as a collaboration with Alaknanda Samarth, actor and director. Malani emphasises that she isn’t using ‘feminine’ and ‘masculine’ to refer to men and women necessarily. We will treat your information with respect. […] Why don’t you try it, folks, / And see what it would do to you?’). Cassandra, for Malani, is a metaphor for ignored voices, especially those of women. 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. She is considered one of the most successful actresses of her time in Hindi cinema history. Remembering Toba Tek Singh (1998–99), Nalini Malani. “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.”. While Malani shines a spotlight on patriarchy through art, her own achievements inspire and enable others. She is both prolific and internationally acclaimed. 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. In “Cassandra,” her first solo show in France, Nalini Malani has returned to her artistic roots: drawing and painting. Having met the Indian artist Nalini Malani in 1985, I have been following her work for nearly 25 years with increasing admiration. “Her painters eye surpasses and embraces entire epochs and cultures, bridges contemporary events and mythology.”. Husain, F.N. Archetypal characters often feature in her work. Christa Wolf’s novel, Cassandra (1983), tells the story of the Trojan war from Cassandra’s perspective – it was an inspiration for the 2009 exhibition where this piece was shown. A trailblazer ... After prolonged captivity, Sita’s husband rejects her because he thinks, wrongly, that she has committed adultery. As an art student in the early 1970s she spent two years in Paris, on a scholarship by the French government. Nalini Malani, dOCUMENTA 13In Search of Vanished Blood, 20126 Channel Video/Shadow Play, with 5 rotating reverse painted Mylar cylinders, Sound, 11 minutes. 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. In 1965, the French-born, Polish painter Roman Opałka came to an important decision. Nalini Malanis Werk - "In Search of Vanished Blood" (2012) zur dOCUMENTA (13) in Kassel. A Diego Rivera mural is the San Francisco Art Institute’s prize asset – but that doesn’t mean it should be sold, Keeping time – the Tunisian clock monuments that tell of a bygone regime, The art world is smitten with Bernie Sanders’ mittens, What a sham! ‘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. "Over an extended career, Malani has been an unremitting voice for the silenced and the dispossessed, most particularly women… Alleyway Lohar Chawl (1991), Nalini Malani. Nalini Malani Latest breaking news, pictures, photos and Video News. We live in Bombay, but we have a small flat and a small studio here. It travelled to seventeen countries and was the poster and catalogue image for her retrospective in 2018. Nor does she think an artist should be constrained by artificial boundaries. Nalini Malani (b. Malani’s recent embrace of Instagram reflects her continuing desire to grasp the potential of popular media and circumvent the gatekeepers of the art world. She explored varied media to reach out to a larger audience. A figure that Malani often returns to is Cassandra – the Trojan princess from Greco-Roman mythology. In fact a year ago they had given her an award for catching a thief. Her family took refuge in Calcutta (now Kolkata) shortly after Partition, before relocating permanently to Bombay (now Mumbai) in 1958. Nalini Malani, Listening to the Shades, (panel 42 of 57), 2008, acrylic, ink and enamel on acrylic sheet. 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. This was written for Daily Art Magazine and published on August 08 2019. In her early career, she primarily worked in the realms of painting and drawing. It was for a performance/installation piece which took place in 1993. Hamletmachine (1999/2000) is Malani’s second Video-Play. The stories that she tells challenge the patriarchy, colonialism and religious fundamentalism (to name a few). Hope you’re gonna love it! The floor of the space has a projection on a bed of salt, referencing Gandhi’s salt march (1930). Nor does she think an artist should be constrained by artificial boundaries. For example, she was the first woman to receive the prestigious Fukuoka Asian Art Prize (2013) and the first Indian to have a retrospective at the Centre Pompidou (and Castello di Rivoli Museo d’Arte Contemporanea, Rivoli-Torino 2018). 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. 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. The plans, announced…, The French parliament has finalised the restitution of 26 artefacts to the Republic of Benin and one to Senegal. Today, Nalini Malani continues to live and work in Bombay. By alluding to a myriad of cultural references from both East and West, she has built an impressive body of work that engages viewers through complex, immersive installations that present her vision of the battered world we live in.”. Between 2017 and 2018 her retrospective was at the Centre Pompidou and Castello di Rivoli Museo d’Arte Contemporanea, Rivoli-Torino. In the controversial ending of this Greek tragedy, Medea enacts her revenge on Jason by also We love art history and writing about it. in Gujarat that Modi as chief minister did nothing to stop and even facilitated in 2002. Since the 1990s her work expanded to other forms of media like video, film and projected animation. Phoebe Cummings (b.1981) is a British sculptress-ceramics artist working primarily with unfired, living clay in its raw state. 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. As a child Nalini Malan was able to travel abroad. You have entered the place where art history gains the voice it deserves. 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. In 2013, she became the first woman artist from Asia to receive the Fukuoka Arts and Culture Prize in the field of contemporary art. Amongst a new generation of women artists who wove personal narratives and histories into their practice, her early works were cathartic autobiographies. Betrayal and revenge metamorphose into a narrative about colonialism and religious fundamentalism. T he 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.. Then, light, video and sound are put into the mix. 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. 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. Here we meet the work five exciting young international artists which underlines the exhibition’s subtitle – ‘New Ways of Seeing’. For the 74-year-old artist, these evocative animations are like sketches – rapidly captured records of her thoughts, memories, ideas and responses to current events, posted with little explanation. Hamletmachine works from the postmodernist retelling of Shakespeare’s Hamlet by the German playwright Heiner Müller (1929 – 1995). In 2010 San Francisco Art Institute awarded Malani an honorary doctorate, then she received the Fukuoka Asian Art Prize in 2013. Nalini Malani emerged at a time when the Indian art scene was male dominated. Then, Ravana abducts Sita. Lecture by Chus Martínez and a dialogue between Nalini Malani and Arjun Appadurai on 10 January 2012 at Jnanapravaha Bombay. 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. On fakery and the Russian avant-garde, The real secret London? It’s more the atmosphere that my mother and my grandparents lived with, the sense of loss – loss of culture and community, loss of language, loss of food”. Links: The twenty minute video is on four channels across three walls of a square space. Cassandra (2009), Nalini Malani. You can see visions of sickness, climate change and mass exodus; bodies and small writhing creatures feature. Bishan Singh refuses to go to India when he hears that his hometown is in Pakistan. Malani’s work began to more drastically incorporate medium other than the canvas in protest against renewed religious conflicts in the 1990s. For revenge she murders their two sons. Clips from documentaries about Hindu fundamentalism intersperse the narrative. Malani visited New York in 1979. It’s a version, updated for the space and context, of the exhibition she unveiled at the Goethe Institute in Mumbai in October. Photo: Anil Rane; © Nalini Malani. 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. Her art is powerful because Malani is a mesmerizing storyteller. Still from Can You Hear Me? These biting responses to current events are a way of continuing to be critical when many artists in India are afraid to speak up, as the national government undermines the freedom of the press and artistic expression. Nalini Malani, an internationally acclaimed contemporary Indian artist. Nalini Malani & Arjun Appadurai 23rd book of the dOCUMENTA (13) series 100 Notes - 100 Thoughts. Nalini Malani, photographed at home in Amsterdam in August 2020. View Nalini Malani’s 89 artworks on artnet. The short video clips from these documentaries were given to Malani gratis by those wanting to give a voice to the voiceless. ‘They were using these stories to reach a wider audience, because everybody in India could identify with those characters,’ she observes. 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