Nalini Malani

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    Nalini Malani
    Nalini Malani.jpg
    Born (1946-02-19) 19 February 1946 (age 78)
    Karachi, British India
    Nationality Indian
    Alma mater Sir J. J. School of Art, Bombay
    Notable workDream Houses
    Can You Hear Me?
    SpouseJohan Pijnappel
    ChildrenAparna Kapadia
    Payal Kapadia
    Awards Fukuoka Arts and Culture Prize (2013)
    Joan Miró Prize (2019)
    Kyoto Prize in Arts and Philosophy (2023)
    Website nalinimalani.com

    Nalini Malani (born 19 February 1946) [1] is an Indian artist, among the country's first generation of video artists. [2]

    Contents

    She works with several mediums which include theater, videos, installations along with mixed media paintings and drawings. The subjects of her creations are influenced by her experience of migration in the aftermath of the partition of India. Pressing feminist issues have become a part of her creative output. [3] Malani uses a visual language that moves from stop motion, erasure animations, reverse paintings and to digital animations, where she draws directly with her finger onto a tablet. [4]

    Malani made her first video work 'Dream Houses' (1969), as the youngest and only female participant of the Vision Exchange Workshop (VIEW), an experimental multi-disciplinary artist workshop in Bombay (Mumbai) by late artist Akbar Padamsee. [5]

    Her works have been shown at various museums, including the Stedelijk Museum Amsterdam, [6] the National Gallery in London, and the Museum of Modern Art in New York. [7]

    Early life and education

    Malani is the only child of Satni Advani (Sindhi Sikh) and Jairam Malani (Theosophist). [4] Born in Karachi (Sindh) in what was then British India, now Pakistan, in 1946, [8] Malani's family sought refuge in India during the partition of India. [9] They relocated to Kolkata (then Calcutta), where her father worked with Tata Airlines (later Air India) and relocated to Mumbai in 1954, where they lived in a colony built for displaced Sindhis. [4] Her family's experience of leaving behind their home and becoming refugees informs Malani's artworks. [10]

    Malani studied Fine Arts in Mumbai [11] and obtained a Diploma in Fine Arts from Sir Jamsetjee Jeejebhoy School of Art in 1969. From 1964-67, she had a studio at the Bhulabhai Desai Memorial Institute, which used to be located at Breach Candy, Mumbai, [4] where artists, musicians, dancers and theater persons worked individually and collectively. [12] It was here that she met and collaborated with artists from allied forms of artistic practice like theatre. [10] She received a scholarship from the French Government to study fine arts in Paris between 1970-72. She was a recipient of two scholarships from the Government of India, as well as a grant in 1989 for travel and work in the United States. [2]

    Career

    After graduation, she spent a few years working with photography and film. [13] The themes she explored during this period dealt with the turbulent time that India was experiencing politically and socially, as well as the deepening literacy of moving image of its population. [14] [13] In the initial part of her career, Malani mostly focused on paintings - acrylic on canvas & watercolour on paper. She produced a socially based portrayal of contemporary India. [15] She explored techniques such as the reverse painting method (taught to her in the late-80s by Bhupen Khakhar), which she would recurrently use in her future work. She was disappointed with the lack of acknowledgement that women artists had to face in India and resolved to bring them together for a group show, to promote the sense of solidarity. [16] In 1985, she curated the first exhibition of Indian female artists, in Delhi. This led to a series of traveling exhibitions that were taken to public spaces as an attempt to go beyond the elitist atmosphere of the art gallery. [16]

    The sectarian violence that hit India in the early 1990s after the demolition of the Babri Masjid triggered a sudden shift in her artwork. [15] The renewed religious conflict that had proven to be recurring (bringing back memories of the Partition) pushed her artistic endeavours. [17] Her earlier foray into performance art and her interest in literature brought new sides to her art. She is counted amongst the earliest to transition from traditional painting to new media work. [11]

    In 2013, she became the first Asian woman to receive the Arts & Culture Fukuoka Prize for her "consistent focus on such daring contemporary and universal themes as religious conflict, war, oppression of women and environmental destruction." [17]

    Notable works

    For two-dimensional works, she uses both oil paintings and watercolors. Her other inspirations are from the realm of memory, myth and desire. The rapid brush style evokes dreams and fantasies. [18] Malani's video and installation work allowed her to shift from strictly real space to a combination of real space and virtual space, moving away from strictly object-based work. Her video work often references divisions, gender, and cyborgs. [18] Malani roots her identity as female and as Indian, and her work might be understood as a way for her identity to confront the rest of the world. [19] She often references Greek and Hindu mythology. The characters of 'destroyed women' like Medea, Cassandra and Sita feature often in her narrative. [11] Her work can be broadly classified under two categories; experiments with visual media and the moving image like Utopia (1969-1976), Mother India (2005), In Search of Vanished Blood (2012); ephemeral and in-situ works such as City of Desires (1992), Medea as Mutant (1993/2014), The Tables have turned (2008). Though her work talks of violence and conflict, her main intent is collective catharsis. [20]

    Dream Houses (1969)

    Malani's first experimental film made at the Vision Exchange Workshop (VIEW) — the brainchild of late artist Akbar Padamsee — drew inspiration from utopian modern Indian architecture. Made using photographic equipment available at the Workshop, it features use of a cardboard maquette, different light sources, primary colour filters, and a Mamiyaflex camera. For this, Malani drew on the 'ideological possibilities of modern architecture', looking to the work of renowned architects Charles Correa and Buckminster Fuller, and blending in learnings from Johannes Itten's colour theories along with Moholy-Nagy’s Vision in Motion.

    "The subject of Dream Houses is the idealism and hope that modernism brought during the Nehruvian period, in which poverty and housing problems in modern India could be solved through a master plan for urban space." — Nalini Malani [21]

    'Dream Houses' was shown at the Kiran Nadar Museum of Art (KNMA) (2014), the Goethe Institute, Mumbai, (2019) and the MoMa, New York,(2022), after being 'lost' for 50 years. [4]

    Unity in Diversity (2003)

    Malani's 2003 video play, Unity in Diversity, is based on the 19th century Indian painter Raja Ravi Varma's Galaxy of Musicians, with the overt theme of nationalistic unity displayed through the garb of eleven musicians from different parts of India, seemingly playing in harmony. Malani makes a statement on this idealized version of unity by incorporating later histories of violence into that image. [22]

    Mother India (2005)

    The video installation was inspired by an essay by the sociologist Veena Das titled "Language and Body: Transactions in the Construction of Pain". It is a synchronised five screen wall-to-wall projection combining archival footage with poetic and painterly images to tell the story of how Indian Nationalism was built using the bodies of women as metaphors for the nation. The work speaks of women as "mutant, de-gendered and violated beyond imagination." [23] The Partition of India and the 2002 Gujarat riots are the central events referenced in this installation, [24] as there was a sharp increase in violence against women in these periods. [25]

    In Search of Vanished Blood (2012)

    This installation, which was first produced for the 13th edition of Documenta, consists of five larger rotating Mylar cylinders (metaphorically referring to Buddhist prayer wheels [26] ) reverse-painted with images of soldiers, animals, gods and guns. [25] The shadow play caused by this rotation tells the story of bloodshed, especially narrating the story of India since the partition and highlighting the plight of the dispossessed/tribal communities whose lives have been affected by development decisions made by the government. [16]

    Exhibitions

    Malani's installation In Search of Vanished Blood at the Edinburgh Art Festival in 2014 In Search of Vanished Blood.jpg
    Malani's installation In Search of Vanished Blood at the Edinburgh Art Festival in 2014

    Through the Looking Glass

    From 1987 - 89, Malani organised 'Through The Looking Glass' with her contemporaries, the women artists Madhvi Parekh, Nilima Sheikh, and Arpita Singh. The exhibition, featuring works by all four artists, travelled to five non-commercial venues across India. Inspired by a meeting in 1979 with Nancy Spero, May Stevens and Ana Mendieta at the AIR Gallery in New York (the first all-female artists’ cooperative gallery in the US), Malani had planned to organise an exhibition entirely of works by women artists, which failed to materialise due to lack of interest and support. [49] [50]

    Reception

    Awards

    Fellowships

    Residencies

    Collections

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    References

    1. ↑ Farooqi, Anis (2003). "Malani, Nalini". Grove Art Online. doi:10.1093/gao/9781884446054.article.t053385. ISBN   978-1-884446-05-4 . Retrieved 25 June 2022.
    2. 1 2 "Nalini Malani - Christies". Christies. Retrieved 25 May 2022.
    3. ↑ "Nalini Malani - 22 Artworks, Bio & Shows on Artsy". www.artsy.net. Retrieved 11 March 2022.
    4. 1 2 3 4 5 Pijnappel, Johan; Malani, Nalini (October 2019). Can You Hear Me? | Nalini Malani. Mumbai: Goethe Institute, Max Mueller Bhavan. pp. 11–40.
    5. ↑ Shankar, Avantika (9 December 2016). "Ashim Ahluwalia revisits a 1969 experiment by Akbar Padamsee". Architectural Digest India . Archived from the original on 20 March 2022. Retrieved 25 May 2022.
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    8. ↑ Great women artists. Rebecca Morrill, Karen, November 15- Wright, Louisa Elderton. London. 2019. ISBN   978-0-7148-7877-5. OCLC   1099690505.{{cite book}}: CS1 maint: location missing publisher (link) CS1 maint: others (link)
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    10. 1 2 Kalra, Vandana (7 January 2018). "Social engagement has always been part of my art". The Indian Express . Archived from the original on 16 April 2023. Retrieved 6 April 2019.
    11. 1 2 3 Seervai, Shanoor (9 October 2014). "A Retrospective of the Works of Nalini Malani Who Paints in Reverse". The Wall Street Journal . Archived from the original on 6 February 2023. Retrieved 31 May 2023.
    12. ↑ "Nalini Malani - Biography". www.nalinimalani.com. Retrieved 11 March 2022.
    13. 1 2 Cassandra Naji. "Indian artist Nalini Malani talks myth, metaphor and women – interview" . Retrieved 29 April 2017.
    14. ↑ Seervai, Shanoor (10 October 2014). "A Retrospective of the Works of Nalini Malani Who Paints in Reverse". WSJ. Retrieved 29 April 2017.
    15. 1 2 McEvilley, Thomas (4 June 2009). "Nalini Malani: Postmodern Cassandra". The Brooklyn Rail. Retrieved 6 April 2019.
    16. 1 2 3 dmovies.net (13 May 2015), Nalini Malani , retrieved 6 April 2019
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    19. ↑ McEvilley, Thomas (June 2009). "Nalini Malani: Postmodern Cassandra". Brooklyn Rail.
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    22. ↑ Turner, Webb, Caroline, Jen (2016). Art and Human Rights: Contemporary Asian contexts. England: Oxford University Press. ISBN   9780719099571.{{cite book}}: CS1 maint: multiple names: authors list (link)
    23. ↑ "Nalini Malani -Video". www.nalinimalani.com. Retrieved 11 March 2022.
    24. ↑ "Disembodied Voices | Nalini Malani: Mother India". www.mutualart.com. Retrieved 7 April 2019.
    25. 1 2 "Nalini Malani Turns to a Greek Myth to Retell Indian Tragedies". www.mutualart.com. Retrieved 7 April 2019.
    26. ↑ "The Oracle and the Artist". The Indian Quarterly – A Literary & Cultural Magazine. Retrieved 7 April 2019.
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    28. ↑ "Exposing the Source: the Paintings of Nalini Malani". pem.org. Retrieved 11 March 2022.
    29. ↑ "Nalini Malani". IMMA. Retrieved 11 March 2022.
    30. ↑ "Nalini Malani". govettbrewster.com. Retrieved 11 March 2022.
    31. ↑ "Nalini MalaniSplitting the Other". Musée cantonal des Beaux-Arts (in French). 20 March 2010. Retrieved 11 March 2022.
    32. ↑ "Mother India: Transactions in the Construction of Pain, 2005 by Nalini Malani". www.artgallery.nsw.gov.au. Retrieved 11 March 2022.
    33. ↑ "Nalini Malani, Listening to the Shades No. 1 - 42, 2008". Burger Collection. Retrieved 11 March 2022.
    34. ↑ "Dr. Bhau Daji Lad Mumbai City Museum - Exhibitions". www.bdlmuseum.org. Retrieved 11 March 2022.
    35. ↑ "You can't Keep Acid in a Paper Bag - A Retrospective (1969–2014) in three chapters". Kiran Nadar Museum of Art. 8 November 2016. Retrieved 11 March 2022.
    36. ↑ "2014". Edinburgh Art Festival. Retrieved 11 March 2022.
    37. ↑ "Nalini Malani Exhibition - St. Moritz Art Masters 2014". Nalini Malani Exhibition - St. Moritz Art Masters 2014. Retrieved 11 March 2022.
    38. ↑ "Nalini Malani: Transgressions". Asia Society. 19 February 2014. Retrieved 11 March 2022.
    39. ↑ "ICAIO - Exhibitions". icaio. Retrieved 11 March 2022.
    40. ↑ Nalini Malani: In Search of Vanished Blood , retrieved 11 March 2022
    41. ↑ "Nalini Malani - La rébellion des morts, rétrospective 1969-2018". Centre Pompidou. Retrieved 11 March 2022.
    42. ↑ "Nalini Malani: The Rebellion of the Dead. Retrospective 1969-2018. Part II". Castello di Rivoli (in Italian). Retrieved 11 March 2022.
    43. ↑ "solo exhibition from the internationally celebrated Indian artist Nalini Malani: Nalini Malani: Can you hear me? - Goethe-Institut Indien". @GI_weltweit. Retrieved 11 March 2022.
    44. ↑ "Dr. Bahu Daji Lad Mumbai City Museum - Exhibitions". www.bdlmuseum.org. Retrieved 11 March 2022.
    45. ↑ Miró, Fundació Joan (19 June 2020). "Nalini Malani: You Don't Hear Me | Exhibitions". Fundació Joan Miró. Retrieved 11 March 2022.
    46. ↑ "Nalini Malani: Can You Hear Me?". Whitechapel Gallery. Retrieved 11 March 2022.
    47. ↑ "NALINIMALANI". www.serralves.pt. Retrieved 11 March 2022.
    48. ↑ CAC, Sara (27 April 2021). "Nalini Malani" (in Spanish). Retrieved 11 March 2022.
    49. ↑ Archive, Asia Art. "Centre for Contemporary Art 1989–1990". aaa.org.hk. Retrieved 2 June 2022.
    50. ↑ Rix, Juliet. "Nalini Malani – interview: 'The future is female. There is no other way'". www.studiointernational.com. Retrieved 2 June 2022.
    51. ↑ "Nalini MALANI". Fukuoka Prize. Retrieved 11 March 2022.
    52. ↑ "Nalini Malani St. Moritz Art Masters Award 2014 / ArtReview". artreview.com. Retrieved 29 April 2017.
    53. ↑ Miró, Fundació Joan. "Nalini Malani | Joan Miró Prize". Fundació Joan Miró. Retrieved 1 July 2020.
    54. ↑ "Nalini Malani". Inamori Foundation. Retrieved 16 June 2023.
    55. ↑ "Artist Nalini Malani receives the first National Gallery Contemporary Fellowship with Art Fund". www.nationalgallery.org.uk. Retrieved 1 July 2020.
    56. ↑ "Fukuoka Asian Art Museum". faam.city.fukuoka.lg.jp. Retrieved 30 April 2019.
    57. ↑ "Civitellians Featured in 'The Artist Project'". Civitella Ranieri. 2 January 2018. Retrieved 30 April 2019.
    58. ↑ "Montalvo Arts Center | Residencies | Past Fellows". montalvoarts.org. Retrieved 30 April 2019.
    59. ↑ "DR. BHAU DAJI LAD MUMBAI CITY MUSEUM - Collections Stories". www.bdlmuseum.org. Retrieved 25 May 2022.
    60. ↑ "Nalini Malani | JNAF". jnaf.org. Retrieved 25 May 2022.
    61. ↑ "Collection Search". 21 March 2022.
    62. ↑ "TIFR | Art Collection". www.tifr.res.in. Retrieved 25 May 2022.
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