“I have no direct experience of Partition. If you find any joy and inspiration in our stories, with modest donation. 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. Remembering Toba Tek Singh (1998–99), Nalini Malani. 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. In fact a year ago they had given her an award for catching a thief. 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 may have been too young to remember this brutal period of history clearly, but it has fed directly into her work – for example, her first large-scale video installation Remembering Toba Tek Singh (1998–99) is based on Saadat Hasan Manto’s satirical short story about the inhabitant of a lunatic asylum in Lahore who dies on the border between Pakistan and India after refusing to be transferred from one country to the other. ‘My daughter, who is an experimental film-maker, suggested I put them on Instagram since they are less than a minute long.’. She was born in 1946 in Karachi, a year before the city became part of the new nation of Pakistan. 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.”. She is both prolific and internationally acclaimed. 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. 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. The artist takes the story of Cassandra and turns the doomed Trojan seer into a figure for our times, The Turner Prize-winning artist explains why she finds digital flotsam and jetsam so fascinating, The trailblazing artist talks about feminism, optimism, and the importance of doing your own thing, Your email address will not be published. It was for a performance/installation piece which took place in 1993. The following year, she received the St Moritz Art Masters Lifetime Award and in 2015 the Asia Game Changer Award. 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. While Malani shines a spotlight on patriarchy through art, her own achievements inspire and enable others. In one, uploaded in the first few months of the coronavirus pandemic, a gun labelled ‘the state’ and a begging hand representing ‘the citizen’ flash on the screen, followed by a line from ‘Out of Work’, a poem by Langston Hughes (‘Did you ever try livin’ / On two-bits minus two? Malani turned again to new media around this tumultuous time. She followed her husband into exile only for him to betray her. Burger Collection, Hong Kong. Hamletmachine (1999/2000) is Malani’s second Video-Play. Sita-Medea (2006), Nalini Malani. In mythology, she points out, female characters are often associated with the earth and the gagging of the feminine voice that exists inside all of us, she argues, has contributed to environmental degradation. She explored varied media to reach out to a larger audience. 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. 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. Harada Nobuo, a Butoh (a type of Japanese dance theatre) performer from Fukuoka, is the protagonist in the video. A l’aide d’icônes féminines de la mythologie indienne (Radha, Sita) ou occidentale (Medée, Cassandre) ou bien de personnages comme Alice au pays des merveilles, elle explore la condition féminine d’hier et d’aujourd’hui. Between 2017 and 2018 her retrospective was at the Centre Pompidou and Castello di Rivoli Museo d’Arte Contemporanea, Rivoli-Torino. Nalini Malani, photographed at home in Amsterdam in August 2020. Medea is an alchemist-witch-princess in Greek tragedy. The latest exhibition at London’s Grove Square Galleries, The Colour of Abstraction, is a vibrant group presentation of colorful abstract art. We love art history and writing about it. The British did not plan the partition well. 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. Cassandra, for Malani, is a metaphor for ignored voices, especially those of women. 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). ‘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. But her Instagram page is more than just a personal sketchpad. Perhaps more significantly she started thinking about India in a new way. “Over an extended career, Malani has been an unremitting voice for the silenced and the dispossessed, most particularly women globally. 25. Malani is a trailblazer for female Indian artists; her art challenges the role of women in patriarchal societies across the world. Ironically, a senior male artist once told Malani that female art counts for nothing and she’d better become a housewife. From the September 2020 issue of Apollo. Kiran Nadar Museum of Art, New Delhi. Links: Scenes of the tragic Mumbai riots, are on the final two panels. ‘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. 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. DailyArtMagazine.com is your daily dose of beauty and inspiration based on the genius and talent of the great artists of the past. Please visit her website to read excellent essays and further explore her work. He was unsuccessful and over ten days the museum attracted more than 25,000 visitors. Simple but mesmerising, furious and witty, sometimes even hopeful (one quotes Proust: ‘If a little dreaming is dangerous, the cure for it is not to dream less, but to dream more, to dream all the time’), these snippets offer an insight into Malani’s thought process. It travelled to seventeen countries and was the poster and catalogue image for her retrospective in 2018. Meanwhile, the themes she grappled with early in her career remain as relevant as ever. 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. Nalini Malani, dOCUMENTA 13In Search of Vanished Blood, 20126 Channel Video/Shadow Play, with 5 rotating reverse painted Mylar cylinders, Sound, 11 minutes. Currently in Amsterdam, where she and her husband, who is Dutch, have a home, Malani’s main residence and studio are in Mumbai. Nalini Malani – interview: ... My husband is Dutch. 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). 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. ‘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. Biographie Née à Karachi en 1946, Nalini Malani vit et travaille à Mumbai. The influence of these encounters with the stage are evident in her work – in ‘erasure performances’ such as. Professionally (full-time) Isla is based in Kent as a director of an educational charity and a teacher.
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