Nalini Malani (born 19 February 1946)[1] is a contemporary Indian artist widely acknowledged to be among the country's first generation of video artists.[2] She works with several mediums which include theater, videos, installations along with mixed media paintings and drawings. The subjects of her creations are deeply influenced by her experience of migration in the aftermath of the partition of India. Subsequently, pressing feminist issues have also become a part of her creative output.[3] Malani has evolved a visual language that is iconic, moving from stop motion, erasure animations, reverse paintings and most recently to digital animations, where she draws directly with her finger onto a tablet.[4]

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Nalini Malani
Born	(1946-02-19) 19 February 1946 (age 76) Karachi, British India
Nationality	Indian
Alma mater	Sir J. J. School of Art, Bombay
Known for	Video art Reverse glass painting
Notable work	Dream Houses Can You Hear Me?
Spouse(s)	Johan Pijnappel
Children	Aparna Kapadia Payal Kapadia
Awards	Fukuoka Arts and Culture Prize (2013) Joan Miró Prize (2019)
Website	nalinimalani.com

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 showcased at renowned museums across the world, including the Stedelijk Museum in Amsterdam[6] 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 deeply 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 (then Bombay),[4] where artists, musicians, dancers and theater persons worked individually and collectively.[12] It was here that she had the opportunity to meet and collaborate 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 from 1970 to 1972. She was also 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 her 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 the deepening literacy of moving image by 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 realistic socially based portrayal of Contemporary India.[15] She continued to explore 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 past the boundaries of the surface and into space.[17] Her earlier foray into performance art and her keen interest in Literature brought new dimensions to her art. She is often 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 her visions 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 in her work. The characters of 'destroyed women' like Medea, Cassandra and Sita feature often in her narrative.[11] Her multifaceted oeuvre can be broadly classified under two categories; Her experiments with visual media and the moving image like Utopia (1969-1976), Mother India (2005), In Search of Vanished Blood (2012); Her ephemeral and in-situ works such as City of Desires (1992), Medea as Mutant (1993/2014), The Tables have turned (2008). Although 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 pioneering Vision Exchange Workshop (VIEW) — the brainchild of late artist Akbar Padamsee — drew inspiration from utopian modern Indian architecture. Made using cutting edge photographic equipment available at the Workshop, it features an exciting use of a cardboard maquette, different light sources, primary colour filters, and a Mamiyaflex camera. For this path-breaking work, Malani drew on the 'ideological possibilities of modern architecture', looking to the work of renowned architects Charles Correa and Buckminster Fuller, and blending in her 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 over 50 years.[4]

Unity in Diversity (2003)

Malani's 2003 video play, Unity in Diversity, is based on the renowned 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 combines archival footage with poetic and painterly image 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 Gujarat Riots of 2002 are the central events that are referenced in this installation,[24] as there was a sharp increase in the violation of 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 senseless bloodshed especially narrating the story of India since the partition and highlighting the plight of the dispossessed/tribal communities whose lives are drastically affected by developmental decisions made by the government.[16]

Exhibitions

• 1993 - Medea, Goethe-Institut Max Mueller Bhavan, Bombay (now Mumbai), India
• 1996 - Medea, Goethe-Institut Max Mueller Bhavan, Mumbai, India
• 1997 - The Job, Goethe-Institut Max Mueller Bhavan, Mumbai, India
• 1999 - Remembering Toba Tek Singh, Prince of Wales Museum (now Chhatrapati Shivaji Maharaj Vastu Sangrahalaya), Mumbai, India
• 2002 - Hamletmachine, New Museum of Contemporary Art, New York, USA[27]
• 2005 - Exposing the Source: The Painting of Nalini Malani, Peabody Essex Museum, Massachusetts, USA[28]
• 2007 - Nalini Malani, Irish Museum of Modern Art, Dublin, Ireland[29]
• 2009 - Nalini Malani, Govett-Brewster Art Gallery, New Plymouth, New Zealand[30]
• 2010 - Splitting the Other, Musée Cantonal des Beaux-Arts, Lausanne, Switzerland[31]
• 2012 - Mother India: Videoplays by Nalini Malani, Art Gallery of New South Wales, Sydney, Australia[32]
• 2013 - Listening to the Shades, Centre de la Gravure, La Louvière, Belgium[33]
• 2013 - Listening to the Shades, Dr Bhau Daji Lad Mumbai City Museum, Mumbai, India[34]
• 2014 - You can't keep Acid in a Paper Bag, Kiran Nadar Museum of Art, New Delhi, India[35]

• 2014 - In Search of Vanished Blood, co-commissioned by Edinburgh Art Festival and 14-18 Now, WW1 Centenary Art commissions, Scottish National Gallery of Modern Art, Edinburgh, United Kingdom[36]
• 2014 - Engadiner Museum, St. Moritz, Switzerland[37]
• 2014 - Transgressions, Asia Society Museum, New York, USA[38]
• 2015 - Stories Untold, Institute of Contemporary Art Indian Ocean, Port-Louis, Mauritius[39]
• 2016 - In Search of Vanished Blood, Institute of Contemporary Art, Boston, USA[40]
• 2017 - Transgressions, Stedelijk Museum, Amsterdam, Netherlands[6]
• 2017/18 - The Rebellion of the Dead: Retrospective 1969-2018 Part I, Centre Pompidou, Paris, France[41]

  

• 2018 - The Rebellion of the Dead: Retrospective 1968-2018 Part II, Castello di Rivoli, Turin, Italy[42]
• 2019 - Can You Hear Me?, Goethe Institut Max Mueller Bhavan, Mumbai, India[43]
• 2020 - The Witness, Dr. Bhau Daji Lad Mumbai City Museum, Mumbai, India[44]
• 2020 - You Don't Hear Me, Miró Foundation, Barcelona, Spain[45]
• 2020 - Can You Hear Me?, Whitechapel Gallery, London, UK[46]
• 2020 - Utopia!?, Serralves Museum of Contemporary Art, Porto, Portugal[47]
• 2021 - Can You Hear Me?, Centro de Arte Contemporáneo de Málaga, Spain[48]

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

• 1970-72: French Government Scholarship for Fine Arts Study in Paris
• 2010: Honorary Doctorate in Fine Arts, San Francisco Art Institute, USA
• 2013: Fukuoka Arts and Culture Prize for Contemporary Art, Fukuoka, Japan[51]
• 2014: St. Moritz Art Masters Lifetime Achievement Award, St. Moritz, Switzerland[52]
• 2016: Asia Arts Game Changer, Asia Society, Hong Kong
• 2019: Joan Miró Prize, Fundació Joan Miró, Barcelona, Spain[53]

Fellowships

• 1984-89: Art Research Fellowship, Government of India
• 1989: USIA Fellowship, Fine Arts Work Center, Provincetown, Massachusetts, USA
• 2020: Contemporary Fellowship, National Gallery, London, UK[54]

Residencies

• 1988: Kasauli Art Centre, Kasauli, India
• 1999: Lasalle-SIA, Singapore
• 1999-2000: Fukuoka Asian Art Museum, Fukuoka, Japan[55]
• 2003: Civitella Ranieri, Umbertide, Italy[56]
• 2005: Lucas Art Residencies, Montalvo, California, USA[57]

Collections

• Dr. Bhau Daji Lad Museum, Mumbai [58]
• Jehangir Nicholson Art Foundation (JNAF), Mumbai [59]
• Lalit Kala Akademi, New Delhi
• National Gallery of Modern Art (NGMA), New Delhi
• MoMa The Museum of Modern Art, New York [7]
• Queensland Art Gallery | Gallery of Modern Art, Brisbane, Australia [60]
• Tata Institute of Fundamental Research (TIFR), Mumbai [61]
• Tate, Britain[62]

References

Further reading

External links

Wikimedia Commons has media related to Nalini Malani.

• Official website
• Profile on Google Arts & Culture

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