Global Crossings Awards Gallery
|Introduction||Abdel and Amal Kenawy||Hellen Sky||Kibook|
|Kim Machan||Nalini Malani||Regina Celia Pinto||Shilpa Gupta|
Copyright © Nalini Malani
after the riots of Bombay in 1992/93 that put Indian secular society out
of joint, she was one of the first artists to pick up the video camera
as an alternative medium for making art. In the nineties she traversed
a labyrinth of different media practices with video, theatre, neon, painting,
drawing, installations, combined and montaged them, let them collide.
She is an artist ‘pur sang’ and although her latest major
works are video installations, she does not call herself a video artist
but a painter. Her artworks do not become just a didactic, audiovisual
pedagogy, but rather a challenging aesthetic concept on her subjects.
The video installation form that she uses for this takes on an aesthetic
that seduces the spectator in the first register.
For Nalini Malani, art is a search for the working of the mind, convincingly crystallizing questions regarding human behavior. As she tells: ” I do believe in a more progressive society, and I do not refer here to technological progress. It has to do with human beings and tolerance and understanding”.
Among other props,
this piece used seventeen VCDs, four data projections and twelve television
monitors (for more on this piece, see (http://www.qag.qld.gov.au/content/apt2002_standard.asp?name=APT_Artists_Nalini_Malani).
Her Sacred and the Profane uses a ‘primitive’ technology of
the cinema in conjunction with popular art. An experiment of this kind
brings forth the fascination with technology not only to the artist but
also to the viewer and the larger public. It does so not by presenting
technology per se but by re-presenting common art forms and images.
Her work also satisfies
the criterion of global connectedness. Remembering Toba Tek Singh is based
on a short story by the well known writer Manto dealing with the events
during the partition of the Indian sub-continent into India and Pakistan,
reflecting artistically on inhuman and irrational violence. As many commentators
have noted, her art often reflects on marginalized voices and is committed
to protest, whether it is a response to critique sexual exploitation (as
in her Medeaprojekt) or religious/national fanaticism (as in Hamletmachine).
Malani has worked with video since 1991. She started by recording her ephemeral, continuous drawing "City of Desires", on the walls of Gallery Chemould, Bombay, made in protest against the rise of Hindu fundamentalism. Her video works have been an expansion of her practices in drawing and painting. In her multi-media installations she often makes single cell animated drawings that bleed and stain. Foregrounding the dispossessed of the earth, she has worked in theatre collaborations using texts by the German playwrights Heiner Mueller, Bertolt Brecht and the Pakistani writer Sa’adat Hussain Manto which reflect on violence, pain and suffering in the name of nationalism and religion.
She has shown her large scale works in solo exhibitions at Prince of Wales Museum Bombay 1999, The New Museum of Contemporary Art, New York 2002, Apeejay Media Gallery, New Delhi 2002; Bose Pacia Modern, New York 2004.
A selection of the
venues where her presentations have been shown are: The World Wide Video
Festivals Amsterdam 1998, 2000, 2002; Century City at the Tate Modern
in London 2001; Unpacking Europe, Museum Boymans Van Beuningen, Rotterdam
2002; the Asia Pacific Triennial, Brisbane 2002; Kalaghoda Festival, Bombay
2003; Multi-Media Art Asia Pacific, Millennium Monument Beijing 2003;
Poetic Justice, Istanbul Biennale 2003; House of World Culture, Berlin
2003,Zoom, Museo Temporario Lisbon 2004; Minority Report, Aarhus Art Festival,
Aarhus 2004; La Nuit Blanche, Paris 2004; “Homo Ludens” Media_City
Seoul 2004;, Crossing Currents, New Delhi 2004; Edge of Desire, Queens
Museum 2005; Sharjah Biennale 2005; Venice Biennale 2005.
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