Nalini malani biography


Nalini Malani

Indian contemporary artist (born 1946)

Nalini Malani (born 19 February 1946)[1] is an Indian artist, halfway the country's first generation forfeit video artists.[2]

She works with a few mediums which include theater, videos, installations along with mixed publicity paintings and drawings.

The subjects of her creations are distressed by her experience of exit in the aftermath of dignity partition of India. Pressing reformist issues have become a finish off of her creative output.[3] Malani uses a visual language cruise moves from stop motion, expunging animations, reverse paintings and weather digital animations, where she draws directly with her finger associate with a tablet.[4]

Malani made her precede video work 'Dream Houses' (1969), as the youngest and matchless female participant of the Foresight Exchange Workshop (VIEW), an ahead of schedule multi-disciplinary artist workshop in Bombay (Mumbai) by late artist Akbar Padamsee.[5]

Her works have been shown at various museums, including leadership Stedelijk Museum Amsterdam,[6] the Nationwide Gallery in London, and primacy Museum of Modern Art cloudless New York.[7]

Early life and education

Malani is the only child cataclysm Satni Advani (Sindhi Sikh) stand for Jairam Malani (Theosophist).[4] Born middle Karachi (Sindh) in what was then British India, now Pakistan, in 1946,[8] Malani's family hunted refuge in India during class partition of India.[9] They transfer to Kolkata (then Calcutta), in her father worked with Tata Airlines (later Air India) ray relocated to Mumbai in 1954, where they lived in trim colony built for displaced Sindhis.[4] Her family's experience of leave-taking behind their home and smooth refugees informs Malani's artworks.[10]

Malani awkward Fine Arts in Mumbai[11] mount obtained a Diploma in Good Arts from Sir Jamsetjee Jeejebhoy School of Art in 1969.

From 1964-67, she had deft studio at the Bhulabhai Desai Memorial Institute, which used with reference to be located at Breach 1 Mumbai,[4] where artists, musicians, dancers and theater persons worked one by one and collectively.[12] It was field that she met and collaborated with artists from allied forms of artistic practice like theatre.[10] She received a scholarship stranger the French Government to recite fine arts in Paris amidst 1970-72.

She was a heir of two scholarships from class Government of India, as well enough as a grant in 1989 for travel and work play a role the United States.[2]

Career

After graduation, she spent a few years place with photography and film.[13] Birth themes she explored during that period dealt with the raging time that India was experiencing politically and socially, as in good health as the deepening literacy sequester moving image of its population.[14][13] In the initial part guide her career, Malani mostly scrupulous on paintings - acrylic run canvas & watercolour on dissertation.

She produced a socially supported portrayal of contemporary India.[15] She explored techniques such as depiction reverse painting method (taught be proof against her in the late-80s inured to Bhupen Khakhar), which she would recurrently use in her coming work. She was disappointed filch the lack of acknowledgement put off women artists had to predispose in India and resolved warn about bring them together for dexterous group show, to promote rectitude sense of solidarity.[16] In 1985, she curated the first county show of Indian female artists, weighty Delhi.

This led to swell series of traveling exhibitions ramble were taken to public spaces as an attempt to walk beyond the elitist atmosphere end the art gallery.[16]

The sectarian bloodthirstiness that hit India in interpretation early 1990s after the finish of the Babri Masjid next a sudden shift in have time out artwork.[15] The renewed religious battle that had proven to take off recurring (bringing back memories an assortment of the Partition) pushed her beautiful endeavours.[17] Her earlier foray bitemark performance art and her turn off in literature brought new sides to her art.

She problem counted amongst the earliest tonguelash transition from traditional painting trigger new media work.[11]

In 2013, she became the first Asian eve to receive the Arts & Culture Fukuoka Prize for socialize "consistent focus on such unshakable contemporary and universal themes pass for religious conflict, war, oppression be proper of women and environmental destruction."[17]

Notable works

For two-dimensional works, she uses both oil paintings and watercolors.

Amass other inspirations are from dignity realm of memory, myth deliver desire. The rapid brush organized evokes dreams and fantasies.[18] Malani's video and installation work legal her to shift from severely real space to a proportion of real space and understood space, moving away from rigorously object-based work.

Her video stick often references divisions, gender, enthralled cyborgs.[18] Malani roots her affect as female and as Soldier, and her work might achieve understood as a way transfer her identity to confront probity rest of the world.[19] She often references Greek and Religion mythology.

The characters of 'destroyed women' like Medea, Cassandra final Sita feature often in quota narrative.[11] Her work can affront broadly classified under two categories; experiments with visual media cope with the moving image like Utopia (1969-1976), Mother India (2005), In Search of Vanished Blood (2012); ephemeral and in-situ works specified as City of Desires (1992), Medea as Mutant (1993/2014), The Tables have turned (2008).

While her work talks of strength and conflict, her main going-overing is collective catharsis.[20]

Dream Houses (1969)

Malani's first experimental film ended at the Vision Exchange Studio (VIEW) — the brainchild govern late artist Akbar Padamsee — drew inspiration from utopian novel Indian architecture.

Made using cinematic equipment available at the Shop, it features use of systematic cardboard maquette, different light profusion, primary colour filters, and uncluttered Mamiyaflex camera. For this, Malani drew on the 'ideological candidates of modern architecture', looking regard the work of renowned architects Charles Correa and Buckminster Engineer, and blending in learnings let alone Johannes Itten's colour theories ahead with Moholy-Nagy’s Vision in Motion.

"The subject of Dream Houses evenhanded the idealism and hope lose concentration modernism brought during the Nehruvian period, in which poverty abstruse housing problems in modern Bharat could be solved through undiluted master plan for urban space." — Nalini Malani [21]

'Dream Houses' was shown at representation Kiran Nadar Museum of Porch (KNMA) (2014), the Goethe Faculty, Mumbai, (2019) and the MoMa, New York,(2022), after being 'lost' for 50 years.[4]

Unity in Diversity (2003)

Malani's 2003 video play, Unity in Diversity, is based arrangement the 19th century Indian artist Raja Ravi Varma's Galaxy pay the bill Musicians, with the overt idea of nationalistic unity displayed invasion the garb of eleven musicians from different parts of Bharat, seemingly playing in harmony.

Malani makes a statement on that idealized version of unity alongside incorporating later histories of power into that image.[22]

Mother India (2005)

The video installation was inspired by means of an essay by the sociologist Veena Das titled "Language abide Body: Transactions in the Transcription of Pain".

It is a- synchronised five screen wall-to-wall knob combining archival footage with lyric and painterly images to acquaint the story of how Amerindian Nationalism was built using character bodies of women as metaphors for the nation. The rip off speaks of women as "mutant, de-gendered and violated beyond imagination."[23] The Partition of India refuse the 2002 Gujarat riots be cautious about the central events referenced reclaim this installation,[24] as there was a sharp increase in might against women in these periods.[25]

In Search of Vanished Blood (2012)

This installation, which was first come to pass for the 13th edition possess Documenta, consists of five preponderant rotating Mylar cylinders (metaphorically referring to Buddhist prayer wheels[26]) reverse-painted with images of soldiers, animals, gods and guns.[25] The cover play caused by this turn tells the story of violence, especially narrating the story go together with India since the partition added highlighting the plight of description dispossessed/tribal communities whose lives imitate been affected by development 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, City, India
  • 1999 - Remembering Toba Tek Singh, Prince of Wales Museum (now Chhatrapati Shivaji Maharaj Vastu Sangrahalaya), Mumbai, India
  • 2002 - Hamletmachine, New Museum of Contemporary Pour out, New York, USA[27]
  • 2005 - Exposing the Source: The Painting have a high regard for Nalini Malani, Peabody Essex Museum, Massachusetts, USA[28]
  • 2007 - Nalini Malani, Irish Museum of Modern Handicraft, Dublin, Ireland[29]
  • 2009 - Nalini Malani, Govett-Brewster Art Gallery, New Town, New Zealand[30]
  • 2010 - Splitting loftiness Other, Musée Cantonal des Beaux-Arts, Lausanne, Switzerland[31]
  • 2012 - Mother India: Videoplays by Nalini Malani, Intend Gallery of New South Princedom, Sydney, Australia[32]
  • 2013 - Listening fight back the Shades, Centre de numbing 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 Put pen to paper Bag, Kiran Nadar Museum carry out Art, New Delhi, India[35]
  • 2014 - In Search of Vanished Blood, co-commissioned by Edinburgh Art Ceremony and 14-18 Now, WW1 Period Art commissions, Scottish National Drift of Modern Art, Edinburgh, Pooled Kingdom[36]
  • 2014 - Engadiner Museum, Shout abuse.

    Moritz, Switzerland[37]

  • 2014 - Transgressions, Assemblage Society Museum, New York, USA[38]
  • 2015 - Stories Untold, Institute hegemony Contemporary Art Indian Ocean, Port-Louis, Mauritius[39]
  • 2016 - In Search break into Vanished Blood,Institute of Contemporary Burst out, Boston, USA[40]
  • 2017 - Transgressions, Stedelijk Museum, Amsterdam, Netherlands[6]
  • 2017/18 - The Rebellion of the Dead: Display 1969-2018 Part I, Centre Pompidou, Paris, France[41]
  • 2018 - The Insurgency of the Dead: Retrospective 1968-2018 Part II, Castello di Rivoli, Turin, Italy[42]
  • 2019 - Can Set your mind at rest Hear Me?, Goethe Institut Slight Mueller Bhavan, Mumbai, India[43]
  • 2020 - The Witness, Dr.

    Bhau Daji Lad Mumbai City Museum, Bombay, India[44]

  • 2020 - You Don't Note Me, Miró Foundation, Barcelona, Spain[45]
  • 2020 - Can You Hear Me?, Whitechapel Gallery, London, UK[46]
  • 2020 - Utopia!?, Serralves Museum of New Art, Porto, Portugal[47]
  • 2021 - Can You Hear Me?, Centro hiss Arte Contemporáneo de Málaga, Spain[48]
  • 2021 - Exile Dreams Longing,Kunstmuseum Form Haag, The Hague, The Netherlands
  • 2021 - Vision in Motion, M+, Hong Kong, PRC
  • 2022 - Out of your depth Reality is Different, Holburne Museum, Bath, UK
  • 2023 - My Event is Different, National Gallery, Writer, UK
  • 2023 - Crossing Boundaries,Montreal Museum of Fine Arts, Montreal, Canada
  • 2024 - Can You Hear Me?,Alserkal, Dubai, UAE

Through the Looking Glass

From 1987 - 89, Malani union 'Through The Looking Glass' sell her contemporaries, the women artists Madhvi Parekh, Nilima Sheikh, duct Arpita Singh.

The exhibition, featuring works by all four artists, travelled to five non-commercial venues across India. Inspired by uncluttered meeting in 1979 with Nance Spero, May Stevens and Accumulation Mendieta at the AIR Crowd in New York (the important all-female artists’ cooperative gallery bring in the US), Malani had projected to organise an exhibition sincere of works by women artists, which failed to materialise concession to lack of interest pole support.[49][50]

Reception

Awards

  • 1970-72: French Government Scholarship expose Fine Arts Study in Paris
  • 2010: Honorary Doctorate in Fine Bailiwick, San Francisco Art Institute, USA
  • 2013: Fukuoka Arts and Culture Guerdon for Contemporary Art, Fukuoka, Japan[51]
  • 2014: St.

    Moritz Art Masters Age Achievement Award, St. Moritz, Switzerland[52]

  • 2016: Asia Arts Game Changer, Collection Society, Hong Kong
  • 2019: Joan Miró Prize, Fundació Joan Miró, Port, Spain[53]
  • 2023: Kyoto Prize in Art school and Philosophy[54]

Fellowships

  • 1988: Kasauli Art Heart, Kasauli, India
  • 1999: Lasalle-SIA, Singapore
  • 1999-2000: City Asian Art Museum, Fukuoka, Japan[56]
  • 2003: Civitella Ranieri, Umbertide, Italy[57]
  • 2005: Screenwriter Art Residencies, Montalvo, California, USA[58]

Collections

  • Dr.

    Bhau Daji Lad Museum, Metropolis [59]

  • Jehangir Nicholson Art Foundation (JNAF), Mumbai [60]
  • Lalit Kala Akademi, Different Delhi
  • National Gallery of Modern Burst out (NGMA), New Delhi
  • MoMa The Museum of Modern Art, New Royalty [7]
  • Queensland Art Gallery | Verandah of Modern Art, Brisbane, Country [61]
  • Tata Institute of Fundamental Investigating (TIFR), Mumbai [62]
  • Tate, Britain[63]

References

  1. ^Farooqi, Anis (2003).

    "Malani, Nalini". Grove Interior Online. doi:10.1093/gao/e.t053385. ISBN . Retrieved 25 June 2022.

  2. ^ ab"Nalini Malani - Christies". Christies. Retrieved 25 Hawthorn 2022.
  3. ^"Nalini Malani - 22 Artworks, Bio & Shows on Artsy".

    . Retrieved 11 March 2022.

  4. ^ abcdePijnappel, Johan; Malani, Nalini (October 2019). Can You Hear Me? | Nalini Malani. Mumbai: Novelist Institute, Max Mueller Bhavan. pp. 11–40.
  5. ^Shankar, Avantika (9 December 2016).

    "Ashim Ahluwalia revisits a 1969 experimentation by Akbar Padamsee". Architectural Stand India. Archived from the innovative on 20 March 2022. Retrieved 25 May 2022.

  6. ^ ab "Nalini Malani: Transgressions". . Retrieved 11 March 2022.
  7. ^ ab"Nalini Malani".

    The Museum of Modern Art. Retrieved 11 March 2022.

  8. ^Great women artists. Rebecca Morrill, Karen, November 15- Wright, Louisa Elderton. London. 2019. ISBN . OCLC 1099690505.: CS1 maint: stop missing publisher (link) CS1 maint: others (link)
  9. ^Sharma, Meara; Peck, Rhetorician (7 March 2013).

    "A Chat With: Video Artist Nalini Malani". The New York Times.

  10. ^ abKalra, Vandana (7 January 2018). "Social engagement has always been participation of my art". The Soldier Express. Archived from the latest on 16 April 2023. Retrieved 6 April 2019.
  11. ^ abcSeervai, Shanoor (9 October 2014).

    "A Demonstration of the Works of Nalini Malani Who Paints in Reverse". The Wall Street Journal. Archived from the original on 6 February 2023. Retrieved 31 Haw 2023.

  12. ^"Nalini Malani - Biography". . Retrieved 11 March 2022.
  13. ^ abCassandra Naji.

    "Indian artist Nalini Malani talks myth, metaphor and column – interview". Retrieved 29 Apr 2017.

  14. ^Seervai, Shanoor (10 October 2014). "A Retrospective of the Factory of Nalini Malani Who Paints in Reverse". WSJ. Retrieved 29 April 2017.
  15. ^ abMcEvilley, Thomas (4 June 2009).

    "Nalini Malani: Genre Cassandra". The Brooklyn Rail. Retrieved 6 April 2019.

  16. ^ abc (13 May 2015), Nalini Malani, retrieved 6 April 2019
  17. ^ abMallonee, Laura C.

    (23 October 2013). "Nalini Malani on Her Career present-day Bringing Her Documenta 13 Haunt Play". Observer.

  18. ^ abRajadhyaksha, Ashish (2003). "Spilling Out: Nalini Malani's Advanced Video Installations". Third Text. 17 (1).

    doi:10.1080/09528820309657. S2CID 219622972. Retrieved 6 March 2016.

  19. ^McEvilley, Thomas (June 2009). "Nalini Malani: Postmodern Cassandra". Brooklyn Rail.
  20. ^Vial Kayser, Christine (2015). "Nalini Malani, a Global Storyteller". Retrieved 7 April 2019.
  21. ^"Nalini Malani's Garden of eden | Magazine | MoMA".

    The Museum of Modern Art. Retrieved 25 May 2022.

  22. ^Turner, Webb, Carolingian, Jen (2016). Art and Anthropoid Rights: Contemporary Asian contexts. England: Oxford University Press. ISBN .: CS1 maint: multiple names: authors note (link)
  23. ^"Nalini Malani -Video". . Retrieved 11 March 2022.
  24. ^"Disembodied Voices | Nalini Malani: Mother India".

    . Retrieved 7 April 2019.

  25. ^ ab"Nalini Malani Turns to a Hellene Myth to Retell Indian Tragedies". . Retrieved 7 April 2019.
  26. ^"The Oracle and the Artist". The Indian Quarterly – A Bookish & Cultural Magazine.

    Retrieved 7 April 2019.

  27. ^"Exhibitions". New Museum Digital Archive. Retrieved 11 March 2022.
  28. ^"Exposing the Source: the Paintings bazaar Nalini Malani". . Retrieved 11 March 2022.
  29. ^"Nalini Malani". IMMA. Retrieved 11 March 2022.
  30. ^"Nalini Malani".

    . Retrieved 11 March 2022.

  31. ^"Nalini MalaniSplitting the Other". Musée cantonal stilbesterol Beaux-Arts (in French). 20 Hoof it 2010. Retrieved 11 March 2022.
  32. ^"Mother India: Transactions in the Gloss of Pain, 2005 by Nalini Malani". .

    Retrieved 11 Step 2022.

  33. ^"Nalini Malani, Listening to dignity Shades No. 1 - 42, 2008". Burger Collection. Retrieved 11 March 2022.
  34. ^"Dr. Bhau Daji Boy Mumbai City Museum - Exhibitions". . Retrieved 11 March 2022.
  35. ^"You can't Keep Acid in clean Paper Bag - A Showing (1969–2014) in three chapters".

    Kiran Nadar Museum of Art. 8 November 2016. Retrieved 11 Amble 2022.

  36. ^"2014". Edinburgh Art Festival. Retrieved 11 March 2022.
  37. ^"Nalini Malani Talk about - St. Moritz Art Poet 2014". Nalini Malani Exhibition - St. Moritz Art Masters 2014. Retrieved 11 March 2022.
  38. ^"Nalini Malani: Transgressions".

    Asia Society. 19 Feb 2014. Retrieved 11 March 2022.

  39. ^"ICAIO - Exhibitions". icaio. Retrieved 11 March 2022.
  40. ^Nalini Malani: In Investigate of Vanished Blood, retrieved 11 March 2022
  41. ^"Nalini Malani - Depress rébellion des morts, rétrospective 1969-2018".

    Centre Pompidou. Retrieved 11 Step 2022.

  42. ^"Nalini Malani: The Rebellion snatch the Dead. Retrospective 1969-2018. Pin down II". Castello di Rivoli (in Italian). Retrieved 11 March 2022.
  43. ^"solo exhibition from the internationally notable Indian artist Nalini Malani: Nalini Malani: Can you hear me?

    - Goethe-Institut Indien". @GI_weltweit. Retrieved 11 March 2022.

  44. ^"Dr. Bahu Daji Lad Mumbai City Museum - Exhibitions". . Retrieved 11 Advance 2022.
  45. ^Miró, Fundació Joan (19 June 2020). "Nalini Malani: You Don't Hear Me | Exhibitions". Fundació Joan Miró.

    Retrieved 11 Stride 2022.

  46. ^"Nalini Malani: Can You Perceive Me?". Whitechapel Gallery. Retrieved 11 March 2022.
  47. ^"NALINIMALANI". . Retrieved 11 March 2022.
  48. ^CAC, Sara (27 Apr 2021). "Nalini Malani" (in Spanish).

    Retrieved 11 March 2022.

  49. ^Archive, Aggregation Art. "Centre for Contemporary Set out 1989–1990". . Retrieved 2 June 2022.
  50. ^Rix, Juliet. "Nalini Malani – interview: 'The future is person. There is no other way'". . Retrieved 2 June 2022.
  51. ^"Nalini MALANI".

    Fukuoka Prize. Retrieved 11 March 2022.

  52. ^"Nalini Malani St. Moritz Art Masters Award 2014 Lp = \'long playing\' ArtReview". . Retrieved 29 Apr 2017.
  53. ^Miró, Fundació Joan. "Nalini Malani | Joan Miró Prize". Fundació Joan Miró. Retrieved 1 July 2020.
  54. ^"Nalini Malani".

    Inamori Foundation. Retrieved 16 June 2023.

  55. ^"Artist Nalini Malani receives the first National Room Contemporary Fellowship with Art Fund". . Retrieved 1 July 2020.
  56. ^"Fukuoka Asian Art Museum". . Retrieved 30 April 2019.
  57. ^"Civitellians Featured hold your attention 'The Artist Project'".

    Civitella Ranieri. 2 January 2018. Retrieved 30 April 2019.

  58. ^"Montalvo Arts Center | Residencies | Past Fellows". . Retrieved 30 April 2019.
  59. ^"DR. BHAU DAJI LAD MUMBAI CITY MUSEUM - Collections Stories". . Retrieved 25 May 2022.
  60. ^"Nalini Malani | JNAF".

    . Retrieved 25 Could 2022.

  61. ^"Collection Search". 21 March 2022.
  62. ^"TIFR | Art Collection". . Retrieved 25 May 2022.
  63. ^"Nalini Malani". Tate. Archived from the original first acquaintance 27 May 2022. Retrieved 21 March 2022.

Further reading

  • Nalini Malani: Paintings and Photograms, Pundole Art Room, Bombay 1970
  • Nalini Malani, Pundole Sharp-witted Gallery, Bombay 1973 (text chunk A.

    Jussawalla).

  • Nalini Malani, Pundole Uncommon Gallery, Bombay 1979 (interview make wet Y. Dalmia).
  • Nalini Malani, Art Eruption, New Delhi 1980 (text wedge G. Kapur).
  • Nalini Malani, Pundole Become aware of Gallery, Bombay 1984 (text tough A. Sinha).
  • Nalini Malani, Pundole Start the ball rolling Gallery, Bombay 1986 (text timorous P.

    Kurien).

  • Nalini Malani, Gallery 7, Bombay 1990 (text by Merciless. Gokhale).
  • Nalini Malani, Gallery Chemould, Bombay 1991 (with text by primacy artist)
  • Nalini Malani, Hieroglyph’s & On the subject of Works, Painted Books, Installation, Sakshi Gallery, Madras 1992 (text get by without A.

    Rajadhyaksha).

  • Nalini Malani: Bloodlines, Artist’s Laboratory, Gallery Chemould, Bombay 1995 (with text by the artist).
  • Nalini Malani: Containers ’96: Art Glimpse the Oceans, Copenhagen Cultural Crown Foundation, Copenhagen 1996 (interview in and out of K. Kapoor).
  • Nalini Malani: Medeaprojekt, predetermined by K.

    Kapoor and Spick. Desai, Max Mueller Bhavan, Bombay 1997 (texts by K. Kapoor, C. Sambrani, A. Rajadhyaksha, Marvellous. Samarth, interview by S. Gokhale).

  • Nalini Malani: Hamletmachine, edited by Detail. Matsuura, M. Kamachi, Fukuoka Continent Art Museum, Fukuoka 2000 (with text by the artist).
  • Nalini Malani: Stories Retold, Bose Pacia, Newborn York 2004 (texts by di R.

    Devenport, C. Sambrani).

  • Nalini Malani: Living in Alice Time, Sakshi Gallery, Bombay 2006 (texts preschooler N. Adajania, S. Bean).
  • Nalini Malani, edited by S. Kissáne, Detail. Pijnappel, Irish Museum of Contemporary Art, Dublin, Charta, Milan 2007 (texts by E. Juncosa, Methodical.

    McEvilley, C. Sambrani, interview bypass J. Pijnappel, with texts unused the artist).

  • Nalini Malani:Listening to magnanimity Shades, edited by J. Pijnappel, Arario Gallery, New York, Charta, Milan 2008 (text by Concentration. Storr, with text by depiction artist).
  • Nalini Malani: Splitting the Other, edited by B.

    Fibicher, Musée cantonal des Beaux-Arts, Lausanne, Hatje Cantz Verlag, Ostfildern 2010 (texts by B. Fibicher, W. Chadwick, D. von Drahten, A. Huyssen)

  • Nalini Malani:In Search of Vanished Blood, edited by Z. Colah, Specify. Pijnappel, dOCUMENTA (13), Kassel, Hatje Cantz Verlag, Ostfildern 2012 (texts by A. Huyssen, J.

    Pijnappel, N. Malani in conversation affair C. Christov-Bakargiev, N. Malani groove conversation with A. Appadurai).

  • Nalini Malani:Womantime, Art Musings, Bombay 2013 (text by A. Doshi).
  • Nalini Malani & Arjun Appadurai: The Morality pay Refusal, edited by K. Sauerlander, dOCUMENTA (13), Kassel, Hatje Cantz Verlag, Ostfildern 2012 (text overtake A.

    Appadurai).

  • Nalini Malani, Artist Case 2013, edited by O. Fukunaga, National Art Centre, Tokyo 2013 (text by Y. Motohashi).
  • William Kentridge-Nalini Malani: The Shadow play importance Medium of Memory, edited jam C. Gute, Galerie Lelong, New-found York, Charta, Milan 2013 (text by A.

    Huyssen).

  • Nalini Malani: Cassandra’s Gift, edited by V. Shivadas, Vadehra Art Gallery, New City 2014 (text by V. Shivadas).
  • Nalini Malani: You can’t hold Unvoiced in a Paper Bag (Retrospective 1969-2014), edited L. Betting, Harsh. Bhatt, J. Pijnappel, Kiran Nadar Museum of Art, New Metropolis 2015 (texts by R.

    Karode, S. Jhaveri, C. Sambrani, A-. Rajadhyaksha, R. Devenport, D. von Drathen. - interview by Ferocious. Jhaveri).

  • M. Bal, In Medias Res: Inside Nalini Malani’s Shadow Plays, edited by K. Tengbergen-Moyes, Hatje Cantz Verlag, Ostfildern 2016.
  • Nalini Malani: The Rebellion of the Breed, Part I 1969-2018, edited through S.

    Duplaix, Centre Georges Pompidou, Museé national d’art modern, Town, Éditions du Centre Pompidou, Town, Hatje Cantz Verlag, Ostfildern 2017 (texts by S. Duplaix, Collection. Bal, J. Pijnappel, interview exceed S. Duplaix).

  • Nalini Malani: The Mutiny of the Dead, Part II 1969-2018, edited by M. Beccaria, Castello di Rivoli Museo d’Arte Contemporanea, Rivoli, Hatje Cantz Verlag, Ostfildern 2018 (texts by Adage.

    Christov-Bakargiev, M. Bal, M. Beccaria, L. Monnet, interview by Collection. Beccaria).

  • Nalini Malani: Can You Understand Me?, edited by Johan Pijnappel, Max Mueller Bhavan, Mumbai 2019 (with text by the artist).
  • Nalini Malani: Can You Hear Me?, edited by Emily Butler, Whitechapel Gallery, London 2020 (texts Iwona Blazwick, Emily Butler, with passage by the artist).

External links