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Malani's work is influenced by her experiences as a refugee of the Partition of India. She places inherited iconographies and cherished cultural stereotypes under pressure. Her point of view is unwaveringly urban and internationalist, and unsparing in its condemnation of a cynical nationalism that exploits the beliefs of the masses.
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Nalini Malani & Arjun Appadurai 23rd book of the dOCUMENTA (13) series 100 Notes - 100 Thoughts. Lecture by Chus Martínez and a dialogue between Nalini Malani and Arjun Appadurai on 10 January 2012 at Jnanapravaha Bombay.
Cassandra 30 panel polytych, acrylic, ink and enamel reverse painting on acrylic sheet, 227.5 x 396cm, 2009
As a direct continuation of the Medea project came in 1995 three robes fashioned out of mylar and painted in acrylic. Intended to represent the three states of being that are evident in the character of Medea, the robes were but one garment that went through metamorphoses even as the character of Medea was transfigured from being the princess of Colchis adept at alchemy (the Alchemist’s Robe), to the collaborator with Jason, the bride who helped him to steal the Golden Fleece (the Bridal ...
Inspired by an essay by the sociologist Veena Das titled “Language and Body: Transactions in the Construction of Pain”. Apart from the fact that the birth of India and Pakistan was the scene of unprecedented collective violence, one hundred thousand women from both sides of the border were forcibly abducted and raped.
There is something incredibly visceral about Malani’s figures in the way that their contours come into definition as though imprinted on the surface by an effluence of the fluid matter that their own persons are made of.
Apocalypse recalled: the recent work of Nalini Malani . by Chaitanya Sambrani. For nearly two decades now, Nalini Malani has sustained a dialogue with presences and absences in history, with the unending succession of brutality that human history represents.
Paris In “Cassandra,” her first solo show in France, Nalini Malani has returned to her artistic roots: drawing and painting. “I draw therefore I am,” she has proclaimed. “Drawing/painting helps me to dream, to free associate, to flow into reveries.”
Interview with Nalini Malani from the iCon India Catalogue produced for the Indian show at the 51 Venice Biennale . by Johan Pijnappel. Johan Pijnappel: The history of video art in India is closely related to your experiments with this medium starting in 1991.
