Malani draws upon her personal experience of the violent legacy of colonialism and de-colonization in India in this personal narrative that was shown as a colossal six channel video installation at dOCUMENTA (13), but is here adapted to single channel. The video is largely silent until violent crashes and female voices overwhelm the viewer, portraying the inner voice of a woman who is brutally gang raped. Malani addresses the fatal place of women in Indian society and the geo-politics of national identity. She brings the poetry of Pakistani revolutionary Faiz Ahmed Faiz into conversation with Samuel Beckett, Heiner Muller and Mahashweta Devi.
Nalini Malani is a leading contemporary artist from India whose work looks critically at issues of gender, race, geopolitics, and the impact of consumer culture amidst rampant globalization. Working across painting, drawing, installation, animation, video and theater, Malani’s practice is characterized by its political bite, and, as described by the artist, for having an ‘internationalist’ perspective of global issues. Malani came to prominence in the 1980s through pioneering work that brought Feminist issues to the fore, courageously addressing the fatal place of women in Indian society. Highlight the violent legacy of colonialism has been a central concern, especially due to how she experienced it firsthand as a child and refugee during the partition of India. Formally, her work has borrowed imagery from Hindu as well as Greek mythology, and is characterized by a distinct combination of abstraction and figuration. From the 90s onwards her focus shifted towards theater and immersive installation pieces that incorporate video or hand-drawn animation while dealing with similar subject matter.
Memory: Record/Erase is a stop-motion animation by Nalini Malani based on ‘The Job,’ a short story by celebrated German poet and playwright Bertolt Brecht...
These hand drawn maps are part of an ongoing series begun in 2008 in which Gupta asks ordinary people to sketch outlines of their home countries by memory...
The photograph Exquisite Eco Living is part of a larger series titled Executive Properties in which he digitally manipulated the images to insert iconic buildings of Kuala Lumpur in the view of derelict spaces also found in the city...
Carlos Amorales, based in Mexico City, works in many media and combinations thereof, including video, drawing, painting, photography, installation, animation, and performance...
Hill of Poisonous Trees (three men) (2008) exemplifies the artist’s signature photo-weaving technique, in which he collects diverse found photographs—portraits of anonymous people, stills from blockbuster films, or journalistic images—cuts them into strips, and weaves them into new composition...
The American War , which takes its title from the Vietnamese term for what Americans call the Vietnam War, has toured the United States extensively with the goal of presenting a Vietnamese perspective of that history...
Mario Garcia Torres films a game of Charades among professional actors guessing the former North Korean dictator’s favorite Hollywood films...
Brent Sikkema, the Manhattan art dealer renowned for representing artists such as Jeffrey Gibson and Kara Walker found dead The post Brent Sikkema – Visionary Art Dealer Of Jeffrey Gibson And Kara Walker Murdered appeared first on Artlyst ....
Bowers’ Radical Hospitality (2015) is a sculptural contradiction: its red and blue neon letters proclaim the words of the title, signaling openness and generosity, while the barbed wires that encircle the words give another message entirely...
For the past two decades, An-My Lê has used photography to examine her personal history and the legacies of US military power, probing the tension between experience and storytelling....
This work, a large oil painting on canvas, shows a moment from Amorales’s eight-minute two-channel video projection Useless Wonder (2006)...
Conceived as a large-scale mural-like projection, Color of History, Sweating Rocks is a neo-futuristic, hybrid film that combines cinematic language, collage, animation, and inventive forms to highlight the plight of the peoples of the Sahara—and refugees in general—who have been displaced by oil-mining....
South Africa Righteous Space by Hank Willis Thomas is concerned with history and identity, with the way race and ‘blackness’ has not only been informed but deliberately shaped and constructed by various forces – first through colonialism and slavery, and more recently through mass media and advertising – and reminds us of the financial and economic stakes that have always been involved in representations of race....
Canned Laughter was Okón’s response to an invitation from Ciudad Juárez , Mexico, where artists were asked to create works based on their experience of the city...
The artist writes about her work Borrando la Frontera, a performance done at Tijuana/San Diego border: “I visually erased the train rails that serve as a divider between the US and Mexico...