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.
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...
Meireles, whose work often involves sound, refers to Sal Sem Carne (Salt Without Meat) as a “sound sculpture.” The printed images and sounds recorded on this vinyl record and it’s lithographed sleeve describe the massacre of the Krahó people of Brazil...
Fridge-Freezer is a 2-channel video installation where Yoshua Okón explores the darker side of suburbia, d escribed by the artist as “ the ideal environment for a numb existence of passive consumerism and social a nd environmental disengagement...
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...
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....
Marc Desgrandchamps — Silhouettes — Musée d'Art Contemporain [mac], Marseille — Exposition — Slash Paris Connexion Newsletter Twitter Facebook Marc Desgrandchamps — Silhouettes — Musée d'Art Contemporain [mac], Marseille — Exposition — Slash Paris Français English Accueil Événements Artistes Lieux Magazine Vidéos Retour Marc Desgrandchamps — Silhouettes Exposition Peinture Marc Desgrandchamps, Sans Titre, 2015 (détail) Huile sur toile — 162 × 130 cm Courtesy de l’artiste et galerie Lelong & Co...
Colin Brant’s communion with the inconstant – Two Coats of Paint Colin Brant, Lake Louise / Poppies, oil on canvas, 50 x 60 inches Contributed by Natasha Sweeten / You might consider the title of Colin Brant’s quietly inspiring exhibition “Mountains Like Rivers,” currently on view at Platform Project Space, an invitation to a world flipped on its end: what’s inherently solid becomes liquid, what’s up is now down...
A young settler girl, dressed in a bridal outfit for Purim, stands in a street in Hebron waiting, perhaps for her parents or other children to join her...
Does anyone else miss art school? The sweet smell of invasive ceramic dust, the satisfying scrape of fresh charcoal across a giant sheet of Strathmore, the mortifying class-wide critique of your meager attempt at drawing a poorly-lit vase that you really should have spent more time on but you were partying all night at Avery’s “performative art sequence” at that creepy abandoned carwash...
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...
Designed as an installation timed spent is determined by the viewer, as with classical sculpture, Anthems is a piece that is in place, and in time, and an important genre of video within the collection...
In Perpetual Motion (2005) the seemingly erratic flight of the bright orange Monarch butterfly—filmed in its winter habitat of Michoacán, Mexico—is intensified by the artist’s editing in which frames are randomly dropped and the film is sped up...