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...
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...
In Ante la imagen (Before the Image, 2009) Muñoz continues to explore the power of a photograph to live up to the memory of a specific person...
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...
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...
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...
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...
Jonas Van and Juno B’s video work Kebranto is anchored by the figure of Boitatá, a snake that is part of the imaginary Guaraní communities that live between the current nation-states of Argentina, Brazil, Paraguay, and Uruguay...
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...