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. Like Medea she is a princess who follows her husband into exile. Nalini Malani emerged at a time when the Indian art scene was male dominated. Le travail de Malani … It is a powerful protest against the Indian government’s nuclear tests. 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. 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. Hema Malini (born 16 October 1948) is an Indian film actress, writer, director, producer, dancer and politician. While Malani shines a spotlight on patriarchy through art, her own achievements inspire and enable others. Much of Malani’s art draws on her experiences growing up as a refugee in the aftermath of the partition (1947), grappling with unfamiliar languages and cultures. 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. Remembering Toba Tek Singh (1998–99), Nalini Malani. Nor does she think an artist should be constrained by artificial boundaries. 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. We live in Bombay, but we have a small flat and a small studio here. 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. Isla graduated with a first class BA in Classics from the University of Cambridge in 2018. Here we meet the work five exciting young international artists which underlines the exhibition’s subtitle – ‘New Ways of Seeing’. 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? van Rooij, Two years ago, she discovered a new outlet – Instagram – and has been posting short animations that she makes on an iPad. Malani’s layered narratives examine gender roles, race, transnational politics, and the ramifications of colonialism, globalization and consumerism. 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. 2004: Devenport, Rhana, Phantasmagoria and the Lanternist, The video/shadow plays of Nalini Malani. Remembering Toba Tek Singh (1998) was Malani’s first video play. Archetypal characters often feature in her work. After prolonged captivity, Sita’s husband rejects her because he thinks, wrongly, that she has committed adultery. Nalini Malani – interview: ... My husband is Dutch. The partition was meant to solve social issues relating to resentments between religious groups. 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. Popular knowledge of figures from mythology allows her to continue mythological narratives and use them as a metaphor for contemporary issues. Lecture by Chus Martínez and a dialogue between Nalini Malani and Arjun Appadurai on 10 January 2012 at Jnanapravaha Bombay. The latest exhibition at London’s Grove Square Galleries, The Colour of Abstraction, is a vibrant group presentation of colorful abstract art. 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. In the controversial ending of this Greek tragedy, Medea enacts her revenge on Jason by also Ironically, a senior male artist once told Malani that female art counts for nothing and she’d better become a housewife. Throughout the course of Malani’s glittering career (which has spanned five decades) her art is consistently feminist. 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. She mentions rapes and murders in India, but has also been reading. 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. 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. ‘Can You Hear Me?’ is at the Whitechapel Gallery, London, from 23 September–May 2021. 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. It’s a well of inspiration, she argues, on which we all have a right to draw. 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. Installation view at the Castello di Rivoli in 2018. Photo: Nalini Malani; © the artist, In 1970, Malani received a scholarship to study at the Ecole nationale supérieure des Beaux-arts in Paris. – draws on these digital sketches. Gaitonde and architect B.V. Doshi, as well as more recent artists such as Reena Saini Kallat, among its alumni. She was born in 1946 in Karachi, a year before the city became part of the new nation of Pakistan. Indian contemporary artist Nalini Malani won the prestigious Joan Miro Prize for 2019, this Friday. 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). Her art is powerful because Malani is a mesmerizing storyteller. Clips from documentaries about Hindu fundamentalism intersperse the narrative. This August, 28 years after the demolition of the Babri Masjid, India’s prime minister Narendra Modi laid the foundation stone for a Hindu temple on the site of the mosque. Photo: Anil Rane; © Nalini Malani. Video then seemed like the most effective tool to reach out beyond the white cube. India has a specific context of a long and complicated history of caste and gender discrimination, nonetheless, the impact of Malani’s activism has created ripples the world-over. 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. Betrayal and revenge metamorphose into a narrative about colonialism and religious fundamentalism. Then, light, video and sound are put into the mix. Photo: G.J. In early 2019 Malani won the Joan Miró Prize. 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. 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! Harada Nobuo, a Butoh (a type of Japanese dance theatre) performer from Fukuoka, is the protagonist in the video. When this video-play was originally shown, the director of the Prince of Wales Museum (Mumbai) wanted to shut down its exhibition. On further probing ‘she’ finally broke down and confessed that extreme poverty led her to claim the job meant for her dead husband. A figure that Malani often returns to is Cassandra – the Trojan princess from Greco-Roman mythology. Find an in-depth biography, exhibitions, original artworks for sale, the latest news, and sold auction prices. Nalini Malani, Remembering Mad Meg, 2007 - 2011, Three channel video/shadow play with seven rotating Lexan cylinders, Centre Pompidou, Paris. 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). The stories that she tells challenge the patriarchy, colonialism and religious fundamentalism (to name a few). ‘My daughter, who is an experimental film-maker, suggested I put them on Instagram since they are less than a minute long.’. Between 1987 and 1989 “Through the Looking Glass” visited Bhopal, New Delhi, Mumbai and Bangalore. Young girls, caught in a history of violence and poverty, one with a leg blasted off by a mine, another, Alice-like, skipping rope as an innocent version of reiteration; a young homeless girl or protester peeing in public space, signifying poverty but also recalling the prestigious precedent of Rembrandt that we will see on the other side of the exhibition. Photo: Anil Rane; © 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. Professionally (full-time) Isla is based in Kent as a director of an educational charity and a teacher. See available paintings, works on paper, and prints and multiples for sale and learn about the artist. Since the 1990s her work expanded to other forms of media like video, film and projected animation. Our mission is to present art history stories in the most compelling and fun way. Nalini Malani, Listening to the Shades, (panel 42 of 57), 2008, acrylic, ink and enamel on acrylic sheet. Phoebe Cummings (b.1981) is a British sculptress-ceramics artist working primarily with unfired, living clay in its raw state. The floor of the space has a projection on a bed of salt, referencing Gandhi’s salt march (1930). 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. Sita-Medea (2006), Nalini Malani. She creates time-based installations that are extremely detailed, delicate, and multi-layered. ‘They were using these stories to reach a wider audience, because everybody in India could identify with those characters,’ she observes. ‘Partition created a bloody wound, and we’re still bleeding,’ she says. She explored varied media to reach out to a larger audience. In fact a year ago they had given her an award for catching a thief. It’s a version, updated for the space and context, of the exhibition she unveiled at the Goethe Institute in Mumbai in October. Her magnificent storytelling and beautiful art combine a wide array of mediums. Burger Collection, Hong Kong. Malani’s work began to more drastically incorporate medium other than the canvas in protest against renewed religious conflicts in the 1990s. She is both prolific and internationally acclaimed. Today, Nalini Malani continues to live and work in Bombay. He was one of the most influential artists of the 20 th century. Cassandra (2009), Nalini Malani. Scenes of the tragic Mumbai riots, are on the final two panels. Biographie Née à Karachi en 1946, Nalini Malani vit et travaille à Mumbai. While the Indian context is central to her work, Malani’s explorations are nonetheless universal and timeless – themes such as jingoistic nationalism, violence against women, and the oppression of marginalised people know no borders. Perhaps more significantly she started thinking about India in a new way. On fakery and the Russian avant-garde, The real secret London? 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. “I have no direct experience of Partition. 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. ‘If there is a future it has to be female,’ she says. These synergies cut across cultures and histories. Medea is an alchemist-witch-princess in Greek tragedy. The Medeaprojekt began as a collaboration with Alaknanda Samarth, actor and director. Later she started creating the ‘video/shadow plays’ she’s best known for today, such as Remembering Mad Meg (2007), which incorporate video, light projections and rotating cylinders containing reverse paintings – together, these kaleidoscopes of light, colour and shadow create different tones and moods, acting like layers of consciousness both outside and within the brain of the viewer. 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. The short video clips from these documentaries were given to Malani gratis by those wanting to give a voice to the voiceless. Throughout her career Malani has exhibited in over seventeen countries. Installation view at Jehangir Art Gallery, Mumbai, 1991. 2005 : Pijnappel, Johan, Nalini Malani Interview, iCon India Contemporary. Can historic houses tell more stories than they have done. 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. Preview and subscribe here. “Over an extended career, Malani has been an unremitting voice for the silenced and the dispossessed, most particularly women globally. She has completed residencies in India (1988), America (1989, 2005), Singapore (1999), Japan (1999/2000) and Italy (2003). In 1965, the French-born, Polish painter Roman Opałka came to an important decision. 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. Part of the film’s soundtrack is a blood-curdling scream. At the same time, she was finding ways to achieve the Rivera effect: she organised an exhibition of female artists that was staged in Delhi in 1985, when such shows were rare in India, and which became a travelling show in a series of public spaces around India later that decade. We love art history and, Language and Body: Transactions in the Construction of Pain. The exhibition provides an overview of Malani’s career and includes new work completed in 2007. Importantly, she organised the first ever all-female art exhibition in India. Goya-like torture and execution; a monster morphing into a woman, or the opposite; the series goes on.”. Alongside literary references, Malani deploys ideas from popular culture and mythology. From the September 2020 issue of Apollo. If you find any joy and inspiration in our stories, with modest donation. The sectarian violence that ensued, by some estimates, took more than two million human lives. Angered by her husband’s betrayal, Medea murders his new wife by gifting her a poisoned robe. Rather, it’s a shorthand for the complementary tendencies that she believes exist within us all. It was fact-checked by the artist. Hope you’re gonna love it! (2018), Nalini Malani. In “Cassandra,” her first solo show in France, Nalini Malani has returned to her artistic roots: drawing and painting. Nalini Malani & Arjun Appadurai 23rd book of the dOCUMENTA (13) series 100 Notes - 100 Thoughts. ‘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. This painting was made as part of the stage set for the performance. We were in Barcelona setting up my show from 1 to 13 March. By the 13th, the virus was spreading like crazy in Spain and we got the last flight out to Amsterdam. During this time she also became more interested in literature: in the course of creating illustrations to accompany short stories in the Times of India newspaper she noted that the young writers of these nahi kahaniya – ‘new stories’ written in Hindi for the newly independent nation – often drew on Indian epics such as the Mahabharata and Ramayana, recasting the characters in a contemporary context. Kiran Nadar Museum of Art, New Delhi. Required fields are marked *, The work is central to the identity of the cash-strapped school, A decade after the uprisings that led to the downfall of Zine El Abidine Ben Ali, the clocks he loved remain, The Syrian-born, US-based artist talks to Gabrielle Schwarz about his sculptural dioramas of cities ravaged by war – and offers a message of hope for the future, Plus: Smithsonian scales back $2bn redevelopment plan | Naomi Beckwith appointed deputy director and chief curator of Guggenheim | and Champs-Élysées to be turned into ‘extraordinary garden’, On Tuesday, the Supreme Court of India dismissed objections to the construction of a new parliament complex in New Delhi. Courtesy Nalini Malani; © Nalini Malani. Back in India, she continued to explore techniques such as reverse painting on glass, which she learned from Bhupen Khakhar in 1988. Photo: Johan Pijnappel. Bishan Singh refuses to go to India when he hears that his hometown is in Pakistan. The artist is usually based in Mumbai, but has been in Amsterdam, in the second home she shares with her Dutch husband, since the start of the coronavirus lockdown. Cassandra has the gift of prophecy but is cursed to be ignored. When she returned to India she spent years negotiating with public and private institutions in order to organise a similar space for Indian women. Nalini Malani (b. 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. After graduation she spent a year in Japan, where she interned as a curatorial assistant at the Fukuoka Asian Arts Museum. 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. While the Indian context is central to her work, Malani’s explorations are nonetheless universal and timeless – themes such as jingoistic nationalism, violence against women, and the oppression of marginalised people know no borders. As a result, there is no doubt that she is both an Indian artist and a global artist. Between 2017 and 2018 her retrospective was at the Centre Pompidou and Castello di Rivoli Museo d’Arte Contemporanea, Rivoli-Torino. Her family took refuge in Calcutta (now Kolkata) shortly after Partition, before relocating permanently to Bombay (now Mumbai) in 1958. The Indian Independence Act liberated the country from British rule. Links: This was written for Daily Art Magazine and published on August 08 2019. 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. The twenty minute video is on four channels across three walls of a square space. She is considered one of the most successful actresses of her time in Hindi cinema history. 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. 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. The installation at the Whitechapel Gallery – titled Can You Hear Me? Robert Storr, Nalini Malani, 52nd Venice Biennial. The video-play opens with scenes of two young women, from either side of the Partition, failing to fold a sari, intermingled with images of the aftermath of the nuclear bombs in Hiroshima and Nagasaki. From this beginning, her career shows a journey of increasing collaboration as well as expansion beyond just a canvas. 51 Venice Biennale Bose Pacia Contemporary Art of India series Vol. The British did not plan the partition well. She showed a video and shadow play on the western and southern facades of the Scottish National Gallery as part of the commemoration of the centenary of the UK’s entry into WW1 (2014). Husain, F.N. You can see visions of sickness, climate change and mass exodus; bodies and small writhing creatures feature. It was for a performance/installation piece which took place in 1993. Speaking…, The inauguration of Joe Biden as president marks a new chapter, but it won’t wipe out the ugly scenes of the storming of Congress, All the evidence suggests that the real challenge for historic properties is to present a much fuller and more complex account of the past, The installation at the Whitechapel Gallery – titled, Malani studied fine art between 1964 and 1969 at the prestigious Sir Jamsetjee Jeejebhoy School of Art, which includes artists M.F. She followed her husband into exile only for him to betray her. Then, Ravana abducts Sita. 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. He was unsuccessful and over ten days the museum attracted more than 25,000 visitors. 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. Sita, the other protagonist in the Stories Retold series (an ongoing project which this work is part of), is from the Hindu epic Ramayana. Chawl ( 1991 ), Nalini Malani for her retrospective in 2018 securing a job working for India! Into four parts, which includes artists M.F torture and execution ; a monster morphing into a woman, Venice..., Rhana, Phantasmagoria and the dispossessed, most particularly women globally and! And opinion at the Fukuoka Asian art Prize in 2013 about a man who is from! 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