COmmUniCaTiOn anD PaRTnERSHiPS DEPaRTmEnT PRESS KiT...eventually the small group with Madhavi...

nalini malani

#Expomalani

COmmUniCaTiOn anD PaRTnERSHiPS DEPaRTmEnT

PRESS KiT

nalini malaniTHE REbElliOn Of THE DEaDRETROSPECTivE 1969-201818 OCTObER 2017 - 8 janUaRy 2018

nalini malaniTHE REbElliOn Of THE DEaDRETROSPECTivE 1969-201818 OCTObER 2017 - 8 janUaRy 2018

CONTENTS

1. PRESS RELEASE PAgE 3

2. BIOgRAPHY PAgE 5

3. ExHIBITION mAP PAgE 8

4. LIST Of ExHIBITEd wORkS PAgE 9

5. PuBLICATION PAgE 13

6. CATALOguE ExTRACTS PAgE 14

7. SYmPOSIum PAgE 17

8. PRESS vISuALS PAgE 18

9. PRACTICAL INfORmATION PAgE 25

July 2017

#Expomalani

communicationand partnerships department75191 Paris cedex 04

DirectorBenoît Parayretelephone00 33 (0)1 44 78 12 [email protected]

Press officerElodie vincenttelephone00 33 (0)1 44 78 48 [email protected]

www.centrepompidou.fr

24 July 2017

PRESS RElEaSEnalini malaniTHE REbElliOn Of THE DEaDRETROSPECTivE 1969-201818 OCTObER 2017 - 8 janUaRy 2018galerie du musée & galerie d'art graphique, level 4

In a unique collaboration the Centre Pompidou and Castello di Rivoli are staging Indian artist Nalini malani’s first retrospective in france and Italy. Presented in Paris in 2017-2018, then in Rivoli

in 2018, this retrospective in two parts selectively covers fifty years of creativity. In the Centre

Pompidou exhibition, the artist presents works from 1969-2018, including her latest painting series

All We Imagine as Light and the site responsive Wall drawing/Erasure Performance Traces.

Apprehending Nalini malani’s work from both a non-chronological and a thematic angle, the exhibitions tackle the various concepts underlying her œuvre : utopia, dystopia, her vision of India and of the role of women in the world. The result of the Partition of India in 1947 has had a life long traumatic effect on malani's family, whose experiences as refugees continue to inform her art practice.

Her explorative investigation of female subjectivity and her profound condemnation of violence - in its insidious and mass forms - is a constant reminder of the vulnerabilities and precariousness of life and human existence. In her art 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.

Malani’s collaborations in performance, theatre and publishing with thinkers such as social-cultural

anthropologist Dr. Arjun Appadurai, actress Alaknanda Samarth, Butoh dancer Harada Nobuo and

theatre director Dr. Anuradha Kapur are testament to her constant seeking of interdisciplinary forms to best investigate and communicate personal and political issues. Her work exists as a

communicationand partnerships department75191 Paris cedex 04

DirectorBenoît Parayretelephone00 33 (0)1 44 78 12 [email protected]

Press officerElodie vincenttelephone00 33 (0)1 44 78 48 [email protected]

www.centrepompidou.fr

#Expomalani

NAlINI MAlANIHamletmachine, 2000 (detail)Four channel video play, sound, 20’00’Centre Pompidou, Musée national d'art moderne, ParisPhoto : © Fukuoka Asian Art Museum

In partnership with

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temporal and corporeal confrontation of the past, present and future; a dynamic synthesis of memory, fable, truth, myth, trauma and resistance. In this way the artist has constructed a remarkable new language of imagination and form, and of phenomena and meaning.

Unique in this retrospective are the recently discovered b/w 16 mm films of 1969-76 including Still Life,

Onanism and Taboo that will have their world premiere in Paris. On this occasion, Malani re-activates a

spectacular work from the Centre Pompidou collections : the “video/shadow play” Remembering Mad Meg

(2007-2011).

A symposium is scheduled for Thursday 19 October : « Memory : Record/Erase » that includes the speakers

Mieke Bal, Claudia Benthien, Andreas Huyssen and Jyotsna Saksena.

The second part of the exhibition will be presented at Castello di Rivoli museo d'Arte Contemporanea, Rivoli-Torino,

from march 27 to July 22, 2018.

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1946 Nalini Malani born on 19 February, in Karachi, British Indian Empire.

1947 Due to Partition Malani’s family is forced to escape by boat from Karachi to Bombay, leaving behind all

their belongings. The imposed poverty, the unfamiliar languages and cultures makes relocating extremely

difficult.

1958-61 Thanks to father’s airline job, mother and daughter make a series of international journeys. Japanese

culture in Tokyo and the Egyptian and Coptic section at the louvre in Paris make a lasting impression.

While still in high school, anatomy and botany dissections made during biology lessons inspire her to

become an artist.

1964-69 Receives a government diploma in fine arts at the Sir J. J. School of Art in Bombay.

In the same period acquires a studio space at Bhulabhai Memorial Institute, where artists, musicians,

dancers and theatre people work individually and as a community. She assists theatre director Satyadev

Dubey from whom she learns the value of reusing old epics, myths and stories to make them germane

to the contemporary moment.

1969-72Is part of the legendary Vision Exchange Workshop (VIEW) in Bombay, initiated by Akbar Padamsee, where

she makes a series of 8 mm and 16 mm films and cameraless photographs.

1970-72 Studies for two years in Paris. As the École des Beaux-Arts is not functioning regularly, she is free to

organize her own study program. Buys her own camera and starts a new series of solarized and collaged

photographs. In this period her political consciousness and commitment gains maturity. She attends

lectures by Noam Chomsky, Claude levi-Strauss, Michel leiris, Charles Bettelheim, Jean-Paul Sartre and

Simone de Beauvoir. Frequently visits the Cinémathèque Française, where she meets Alain Resnais,

Jean-luc Godard, William Klein and Chris Marker. Film becomes for her an important holistic concept,

encompassing the visual as well the theatrical arts.

2. biOGRaPHy

6

1973Malani decides not to stay in the West but to return to India, motivated to contribute to the making of the

young Indian nation. Marries outside her own social strata and moves from the more elite Warden Road,

into a joint Hindu family living at lohar Chawl, in the heart of the bustling wholesale markets in Bombay.

She experiences this radical change as a sociocultural experiment.

1976With hardly any money she can scarcely continue working in film. Her last film project Utopia, is a double

film projection installation, in which she combines a new 16 mm black and white film, about the

disillusionment in the realization of the Nehruvian dream, with her stop motion film Dream Houses made at

VIEW in 1969.

1978-79Father passes away and Air India grants her one last free flight ticket. Travels to New York where she

meets the artists Nancy Spero, May Stevens and Ana Mendieta at the A.I.R. Gallery, which provides an

alternative means to exhibit women's art. This inspires her to organise a large-scale Indian women artists’

exhibition, in an attempt to give them a voice in the male-dominated milieu. After years of struggle

eventually the small group with Madhavi Parekh, Nilima Sheikh, Arpita Singh and herself travel the

exhibition Through the Looking Glass, in different formations over three years in India 1987-89.

1991-99

As a protest against the rising orthodox Hindutva culture she breaks out of the painting frame, to reach a

wider public. This results in 1991 in her first shadow play installation Alleyway, Lohar Chawl, in 1992 the

Ephemeral Wall Drawing/Erasure Performance City of Desires, in 1993 the experimental theatre play

Medeamaterial and in 1996 The Job. In this line of controversial presentations in 1999 the director of the

Prince of Wales Museum decides to shut down the exhibition of the video play Remembering Toba Tek Singh,

which is a protest against the Indian government’s nuclear tests. By diplomatic intervention the exhibition

remains open for the full period, attracting by default, in this popular natural history/art museum, more

than 25,000 visitors in a period of ten days.

1998

Participates in Another Landscape : History/Life/Language, a traveling exhibition in Japan, India and

Australia with Judith Wright and Kaoru Hirabayashi. This all female exhibition works around ideas that

reject the predominant Western worldview.

2000Not being able to travel her theatre plays Malani develops the idea of ‘video-plays’ during her residency

program at the Fukuoka Asian Art Museum, where she makes in collaboration with the Butoh dancer

Harada Nobuo, the four-channel video-play Hamletmachine, based on the theatre play by Heiner Müller.

These ‘plays’, which form a protest against sectarian elements that are eroding the idea of a secular India,

become a success as Hamletmachine (2000), Unity in Diversity (2003) and Mother India : Transactions in the

Construction of Pain (2005), are over the years shown in fourteen countries in museums such as Tate

Modern, New Museum, Irish Museum of Modern Art, Art Gallery of New South Wales.

2001In addition to her ‘video-plays’ Malani develops a new format that she calls ‘video/shadow play’, a mix of

reverse painted rotating transparent cylinders, video, light and sound that encompass the audience. Here

the traditional perception of reverse painting becomes a medium of superimposition, psychological and

literary references within a complex pictorial surface and spatial environment. Works like Transgressions

(2001), Gamepieces (2003), Remembering Mad Meg (2007) and In Search of Vanished Blood (2012) receive

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international recognition at important exhibitions such as Unpacking Europe (Boijmans van Beuningen,

2001), 8th Istanbul Biennial (2003), 51st Venice Biennial (2005) and Paris-Delhi-Bombay...(Centre Pompidou,

2011). They become part of the collections of the Stedelijk Museum, MoMA, Centre Pompidou, Kiran Nadar

Museum of Art and the Metropolitan Museum of Art.

2007Participates in the 52nd Venice Biennial curated by Robert Storr. Malani paints Splitting the Other,

a fourteen panel reverse painted installation that covers six walls of the octagonal room at the Italian

Pavilion.

2012 Participates in dOCUMENTA (13), Kassel, curated by Carolyn Christov-Bakargiev. She chooses an 11.5

meter high room with curved walls that one enters through a small tunnel. Supported by the Burger

Collection she makes In Search of Vanished Blood, an immersive environment with a six channel video/

shadow play that is shown like a 360 degrees video frieze above the audience.

2013 She receives several international awards such as Fukuoka Asian Art Prize (2013), St. Moritz Art Masters

lifetime Achievement Award (2014) and the Asia Game Changer Award (2015). In her speech at the award

ceremony in Fukuoka she emphasizes that it is her strongest belief that our future in the twenty-first

century urgently needs a cognizance of female thought.

2014

As night falls on 4 and 5 August, Malani's video and shadow play takes over the entire Western and

Southern facades of the Scottish National Gallery. In her extended exploration of conflict and war, this

presentation in Edinburgh is timed to coincide with lIGHTS OUT, the commemoration of the centenary of

the UK's entry into the First World War.

2016 Eminent Dutch cultural theorist and artist Mieke Bal conducts an intense and erudite dialogue between

five of Malani’s shadow plays and theoretical issues concerning art and politics in the 420 page book In

Medias Res : Inside Nalini Malani’s video plays.

2017- 2018In a unique collaboration Centre Pompidou and Castello di Rivoli Museo d’Arte Contemporanea, Rivoli-

Torino present a retrospective of the period 1969 – 2018 divided between both museums.

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wALLS :Traces, 2017–2018

ROOm 1 :Remembering Mad Meg, 2007–2017

ROOm 2 :All We Imagine as Light, 2016

All We Imagine as Light, 2017

ROOm 3 :Hamletmachine, 2000

ROOm 4 :Excavated Images, 1997

The Job, 1997

Mutant I, B Series, 1996

Mutant III, B Series, 1996

Mutant IV, B Series, 1996

Unity in Diversity, 2003

ROOm 5 :Alleyway, Lohar Chawl, 1991

ROOm 6 :Precincts, 1969

Trajectory, 1969

Vestige, 1969

Flight, 1969

Untitled I, 1970

Untitled II, 1970

Untitled III, 1970

Still Life, 1969

Onanism, 1969

Taboo, 1973

Les Manifestations – Paris, diptych part I, 1970

Les Manifestations – Paris, diptych part II, 1970

Mushroom Cloud, 1970

Damaged Survivors, 1970

Le Chemin de Fer, 1970

Intestines of the Machine Age, 1970

For the Dispossessed, 1971

ROOm 7 :Utopia, 1969–1976

ROOm 1

ROOm 2

ROOm 3

ROOm 4

ROOm 5

ROOm 6

ROOm 7

3. ExHibiTiOn maP

9

4. liST Of ExHibiTED wORKS

Still Life

1969

Black and white 16 mm film

transferred on digital medium, 04:07 min.

Centre Pompidou,

Musée national d’art moderne, Paris

Onanism

1969



Centre Pompidou,


Precincts

1969

Photogram

96.5 x 80 cm without border

(112 x 95 cm with border)

Centre Pompidou,


Trajectory

1969

Photogram

80 x 96.5 without border

(95 x 112 with border)

Centre Pompidou,


Vestige

1969

Photogram

80 x 96.5 without border


Centre Pompidou,


Flight

1969

Photogram

80 x 96.5 cm without border


Centre Pompidou,


Untitled I

1970

Photogram

96.5 x 73.5 cm without border


Centre Pompidou,


Untitled II

1970

Photogram



Centre Pompidou,


Untitled III

1970

Photogram



Centre Pompidou,


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Les Manifestations – Paris, diptych part I

1970

Solarised photograph


(33 x 39.5 cm with border)

Centre Pompidou,


Les Manifestations – Paris, diptych part II

1970

Solarised photograph

32 x 25.5 cm without border

(39.5 x 33 cm with border)

Centre Pompidou,


Mushroom Cloud

1970

Collage and photogram

37 x 38 cm without border (52 x 53 cm with border)

Centre Pompidou,


Damaged Survivors

1970



Centre Pompidou,


le Chemin de Fer

1970

Collage and solarised photograph


Centre Pompidou,


Intestines of the Machine Age

1970



Centre Pompidou,


For the Dispossessed

1971

Papier-mâché sculpture

18 x 14 x 14 cm

Private collection

Taboo

1973



Centre Pompidou,


Utopia

1969–1976

16 mm black and white film and 8 mm colour

stop-motion animation film, transferred on digital

medium, double video projection, 3:49 min.

Centre Pompidou,


Alleyway, Lohar Chawl

1991

Installation of five reverse painted transparent

Mylar sheets, stones

200 x 102 cm (each sheet)

Private collection

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Mutant I, B Series

1996

Fabric dye on milk carton paper

183 x 122 cm

Private collection

Mutant III, B Series

1996


183 x 122 cm

Private collection

Mutant IV, B Series

1996


183 x 122 cm

Private collection

The Job

1997

Single-channel video sculpture, stop-motion

animation, sound, 10:00 min. Cloth puppet on metal

hospital bed and monitor. Metal construction,

five bell jars with transparent gloves filled with the

basic elements of an Indian meal : rice, lentils, salt,

turmeric, chili powder. Vinyl text on the floor

Musée cantonal des Beaux-Arts de lausanne

Excavated Images

1997

Painted quilt, rope, pegs, 203 x 157 cm

Private collection

Hamletmachine

2000

Four-channel video play, sound, 20:00 min.

Three video projections on screen: 330 x 440 cm

(each). One video projection on platform of white

salt : 360 x 270 cm. Black reflective floor

Centre Pompidou,


Unity in Diversity

2003

Single-channel video play inside a golden frame,

sound, 7:00 min.

Thirteen black and white photographs of the history

of Gandhi and Nehru.

Traditional wall lamps, sofa

Projection: 150 x 200 cm

Centre Pompidou,


Remembering Mad Meg

2007–2017

Four-channel video/shadow play, sixteen light

projections, eight reverse painted rotating lexan

cylinders, sound

Variable dimensions for the installation

Centre Pompidou,


12

All We Imagine as Light

2016

Six reverse painted tondi

Desire/Rupture, Touch/Ashes and One Day the Streets of the World Will Be Empty: Ø 152 cm

The City from Where No News Can Come,

I am Everything You Lost and You Needed to Perfect Me : Ø 122 cm

Arario Museum, Seoul

All We Imagine as Light

2017

Polyptych

Eleven reverse painted panels

183 x 100 cm (each)

Burger Collection, Hong Kong

Traces

2017–2018

Wall Drawing/Erasure Performance

Variable dimensions

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5. PUbliCaTiOn

TABLE Of CONTENTS

fOREwORdSerge lasvignes / Alberto Tazzetti

Bernard Blistène / Carolyn Christov-Bakargiev

TExTSSophie Duplaix

Interview with Nalini Malani

If Humankind Wants to Survive the Twenty-First Century…

Mieke Bal

Exposing Broken Promises : Nalini Malani’s Multiple Exposures

Johan Pijnappel

The Missing Link : Nalini Malani’s Experimental Films from 1969–1976

ExHIBITEd wORkS Traces (2017-2018)

Remembering Mad Meg (2007–2017)

All We Imagine as Light (2016)

All We Imagine as Light (2017)

Hamletmachine (2000)

Unity in Diversity (2003)

The Mutant B Series (1996)

The Job (1997)

Excavated Images (1997)

Alleyway, Lohar Chawl (1991)

For the Dispossessed (1971)

Collaged and Solarised Photography (1970)

Still Life (1969)

Onanism (1969)

Taboo (1973)

Photograms (1969–1970)

Utopia (1969–1976)

LIST Of ExHIBITEd wORkS

CATALOguE Of THE ExHIBITIONCoedition Centre Pompidou / Hatje Cantz

Edited by Sophie Duplaix

French/English

240 pages, 242 illustrations

€ 35

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6. CaTalOGUE ExTRaCTS

SOPHIE duPLAIxINTERvIEw wITH NALINI mALANIIf HumANkINd wANTS TO SuRvIvE THE TwENTY-fIRST CENTuRY...

Nm: My own art was from the very start female-oriented. I believe this is natural, a given, as women have

a completely different relationship to the body than men. And women also hold a different position in

society, anywhere in the world, compared to men. The female protagonists manifest themselves already

in my early experimental black and white films such as Still Life (1969), Onanism (1969) and Taboo (1973).

In my later works, I often work with existing female characters from mythology, literature or history, to reintroduce male-dominated history from a female point of view. This one can see in paintings such as

Sita/Medea (2006), Talking about Akka (2007) and Cassandra (2009) or my video-based works such as Mother

India: Transactions in the Construction of Pain (2005) and Remembering Mad Meg (2007). This feminist approach and commitment will continue for the rest of my life. Over the years, women in selective societies have acquired a degree of equality with men, but still today there is too much left wanting. for me understanding the world from a feminist perspective is an essential device for a more hopeful future, if we want to achieve something like human progress. It is clear that we have followed for too long

a linear patriarchy that is coming to an end, but stubbornly wants to assert, “it is still the only way.” Or,

if I wanted to state it more dramatically, I think that we desperately need to replace the alpha male with

matriarchal societies, if humankind wants to survive the twenty-first century...

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mIEkE BALExPOSINg BROkEN PROmISES : NALINI mALANI’S muLTIPLE ExPOSuRES

Within Malani’s rich series of shadow plays, this one [Remembering Mad Meg] stands out in four respects.

Here the projections that splice the images on the turning cylinders and cast their shadows are stop-motion animations, evoking four different short stories of subaltern women in line drawings. In the

loop, coloured projected circles appear intermittently and interweave the images on the cylinders, making

the shadows into superimpositions of paintings and drawings, bringing two of Malani’s media together.

Secondly, there is an emphatic presence of female figures in this work. The cylinders and the projections confront us with a whirlwind of such figures that flash memories of readings and photographs, paintings and drawings that feel like an archive of subaltern girls and women, including

babies and umbilical cords. Young girls, caught in a history of violence and poverty, one with a leg blasted

off by a mine, another, Alice-like, skipping rope as an innocent version of reiteration; a young homeless

girl or protester peeing in public space, signifying poverty but also recalling the prestigious precedent of

Rembrandt that we will see on the other side of the exhibition. Goya-like torture and execution; a monster

morphing into a woman, or the opposite; the series goes on.

The emphasis on “remembering” as an active verb in the progressive form leads, thirdly, to the interpretation of memory as active and ongoing. Here, the act of memory needed is close to the subject because it is that of the victim-participant, the person who is so deeply embedded in a culture of violence that she inevitably becomes an accomplice. forgetting this is the deeper cause of the endless repetition of violence – the circular form is there to remind us of this .Victimisation, collusion, and forgetting together make up the state of human beings incarnated by the

figure of Mad Meg. The work’s title prompts us to remember this figure, on an ongoing basis. What must

be remembered is not just how she was hurt but what she did as well – how her violation turned her into a

“mutant,” another key figure in Malani’s work, contaminated not only physically but also morally. The

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fourth distinguishing feature is the centrality of that singular figure emblematic of violence undergone and

perpetrated, brought to us in painting. No other shadow play has a “main character.” This centrality is not

based on the individualism of Western novels and films, but embodies the multidirectionality of both the

layered narrative mode of the images and the movement between times and cultures that this central

figure of Meg encourages.

These movements, turning between forms of violence, make up the turbulence of the work. As the spine of the show, the uproar contaminates both side wings. Between small narratives and the archival, between myth and modernity, and between visuality and the thought-image (my short-hand for political art), meg, and the artist who created this shadowy version of her, wanders through the world’s storage rooms collecting triggers for acts of memory. The figure raises this question about herself: is she mad, furious, or the one because of the other? If the latter, does violence lead to madness, and what has the

way we look at her to do with that state? These are all aspects of the underlying question about what

needs to be remembered, and how. Hence the ineluctably immersive installation.

JOHAN PIJNAPPELTHE mISSINg LINk : NALINI mALANI’S ExPERImENTAL fILmS fROm 1969–1976

Malani’s early films were made on the brink of two historical time frames. India’s post-Partition history

has often been divided into two phases, that is, 1947 to 1969, the period of secular nationalism advocated

by Nehru, which was based on a politics of integration, and 1970 to the present day, which has witnessed

the increasing importance of Hindu nationalism. In Still Life, Onanism, and Dream Houses, all from 1969, we see the filmic works of a young artist, a woman who believes and fights for the expansion of freedom and progress through the “woman’s voice,” as embodied in Indian modernity . with this malani was far ahead of her time, and it took almost another thirty years before we saw similar female voices speaking up in Indian video art. Unfortunately, modernity became an incomplete process in India. Post-1970, as

shown in Taboo, Malani’s idealism was dealt a harsh blow with evidence of continuing religious restrictions

against women, and both in her Bandra slum project and Utopia the disappointment lies in the failure of

modernity to deliver its promises of equality and betterment for all. However, as the poet and writer Adil

Jussawalla noted in 1973, the women in Malani’s paintings are not passive: “What is new is that these

women fight back. They will not watch and wait and endure with their large sad eyes as women have been

shown to be doing ever since Amrita Sher-Gil.”

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7. SymPOSiUm « mEmORy : RECORD/ERaSE »

19 OCTObER, 2-6 Pm petite salle

The " Memory : Record/Erase " symposium is organized by the Centre Pompidou in the

framework of the exhibition. The four international specialists mieke Bal, Claudia Benthien,

Andreas Huyssen and Jyotsna Saksena will discuss Nalini malani’s work, where memory

constitutes the main thread in the construction and deconstruction of our perception of history

and the future.

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8. PRESS viSUalS

Portrait of Nalini Malani in her Bombay studioPhoto : © Rafeeq Ellias

01. NALINI mALANIOnanism, 1969

Black and white 16 mm film transferred on digital medium, 03:52 min.

Centre Pompidou, Musée national d’art moderne, Paris

Photo : © Nalini Malani

CoverCatalogue of the exhibitionCoedition Centre Pompidou / Hatje CantzEdited by Sophie Duplaix, French/English, 240 pages, 242 illustrations, € 35

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03. NALINI mALANIDamaged Survivors, 1970

Collage and photogram37 x 46 cm without border(52 x 61 cm with border)



02. NALINI mALANIUtopia, 1969-1976

16 mm black and white film and 8 mm colour stop-motion animation film, transferred on digital medium, double video projection, 3:49 min.Centre Pompidou, Musée national d’art moderne, ParisPhoto : © Nalini Malani

04. NALINI mALANIUntitled I, 1970

Photogram96.5 x 73.5 cm without border(112 x 89 cm with border)



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06. NALINI mALANIThe Job, 1997

Single-channel video sculpture, stop-motion animation,sound, 10 : 00 min. Cloth puppet on metal hospital bed andmonitor. Metal construction, five bell jars with transparentgloves filled with the basic elements of an Indian meal : rice,lentils, salt, turmeric, chili powder. Vinyl text on the floor

Musée cantonal des Beaux-Arts de lausanne

Photo : © Musée cantonal des Beaux-Arts, lausanne

05. NALINI mALANIAlleyway, Lohar Chawl, 1991

Installation of five reverse painted transparent Mylar sheets, stones200 x 102 cm (each sheet)Private collection


07. NALINI mALANIHamletmachine, 2000

Four-channel video play, sound, 20 : 00 min.Three video projections on screen: 330 x 440 cm (each)One video projection on platform of white salt : 360 x 270 cmBlack reflective floor


Photo : © Arario Gallery

21

10. NALINI mALANIUnity in Diversity, 2003 (detail)

Single-channel video play inside a golden frame, sound, 7 : 00 min.Thirteen black and white photographs of the history of Gandhi and Nehru. Traditional wall lamps, sofaProjection : 150 x 200 cm



09. NALINI mALANIUnity in Diversity, 2003

Single-channel video play inside a golden frame, sound, 7 : 00 min.Thirteen black and white photographs of the history of Gandhi and Nehru.Traditional wall lamps, sofaProjection: 150 x 200 cm



08. NALINI mALANIHamletmachine, 2000 (detail)

Four-channel video play, sound, 20 : 00 min.Three video projections on screen: 330 x 440 cm (each)One video projection on platform of white salt : 360 x 270 cmBlack reflective floor


Photo : © Fukuoka Asian Art Museum

22

11. NALINI mALANI Remembering Mad Meg, 2007-2011

Three-channel video/shadow play, sixteen light projections, eight reverse painted rotating lexan cylinders, soundVariable dimensions for the installation

Exhibition view of Paris-Delhi-Bombay, Centre Pompidou, 2011Centre Pompidou, Musée national d’art moderne, Paris

Photo : © Payal Kapadia

12. NALINI mALANIRemembering Mad Meg, 2007-2011 (detail)

Three-channel video/shadow play, sixteen light projections, eight reverse painted rotating lexan cylinders, sound

Variable dimensions for the installation

Exhibition view of Paris-Delhi-Bombay, Centre Pompidou, 2011Centre Pompidou, Musée national d’art moderne, Paris

Photo : © Payal Kapadia

13. NALINI mALANINalini Malani making in situ Wall Drawing, Musee cantonal des Beaux-Arts, Lausanne, 2010


14. NALINI mALANINalini Malani making in situ Wall Drawing, Musee cantonal des Beaux- Arts, Lausanne, 2010


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16. NALINI mALANIAll We Imagine as Light, 2016 Six reverse painted tondi

(détail : I am Everything You lost, 2016)Ø 122 cm


Photo : © Anil Rane

15. NALINI mALANIAll We Imagine as Light, 2016


(I am Everything You lost, 2016)Ø 122 cm





(The City from Where No News Can Come, 2016)Ø 122 cm



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19. NALINI mALANIAll We Imagine as Light, 2017(Detail of panel nine)

PolyptychEleven reverse painted panels183 x 100 cm (each)



20. NALINI mALANIAll We Imagine as Light, 2017 (Panel nine)

PolyptychEleven reverse painted panels183 x 100 cm (each)




PolyptychEleven reverse painted panels 183 x 100 cm (each)



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9. PRaTiCal infORmaTiOn

PRaCTiCal infORmaTiOn aT THE SamE TimE in THE CEnTRE POmPiDOU

Sophie duplaix

Chief Curator,

Musée national d’art moderne,

and head of the contemporary

collections department

Assisted by

Jeanne Rethacker

Research Associate,

Musée national d’art moderne,

contemporary collections

department

Centre Pompidou

75191 Paris cedex 04

telephone

00 33 (0)1 44 78 12 33

metro

Hôtel de ville, Rambuteau

Opening hours Exhibition open every day

from 11 am to 9 pm

except on Tuesday Price

€14

concessions: €11

Valid the same day for

the musée national d’art moderne

and all exhibitions

Free admission for members

of the Centre Pompidou

(holders of the annual pass)

You can find the entire programme

on www.centrepompidou.fr

CARTE BLANCHE Pmu 2017

ELINA BROTHERuS - RègLE du JEu

27 SEPTEMBER-22 OCTOBER 2017

press officer

Elodie Vincent

+33 (0)1 44 78 48 56

[email protected]

PRIx mARCEL duCHAmP 2017

LES NOmméS

27 SEPTEMBER 2017-8 JANUARY 2018

press officer

Dorothée Mireux

+33 (0)1 44 78 46 60

[email protected]

ANdRé dERAIN

1904-1914, LA déCENNIE RAdICALE

4 OCTOBER 2017-29 JANUARY 2018

press officer

Dorothée Mireux

+33 (0)1 44 78 46 60

[email protected]

COSmOPOLIS #1

18 OCTOBER-18 DECEMBER 2017

press officer

Timothée Nicot

+33 (0)1 44 78 49 87

[email protected]

PHOTOgRAPHISmE

IfERT, kLEIN, zEmECzNIk

8 NOVEMBER 2017-29 JANUARY 2018

press officer

Elodie Vincent

+33 (0)1 44 78 48 56

[email protected]

CéSAR

LA RéTROSPECTIvE

13 DECEMBER 2017-26 MARCH 2018

press officer

Timothée Nicot

+33 (0)1 44 78 49 87

[email protected]

Au muSéE:

NOuvEAu PARCOuRS dE vISITE Au

muSéE ET NOuvELLE PRéSENTATION

dES COLLECTIONS CONTEmPORAINES

FROM 18 OCTOBER 2017

press officer

Timothée Nicot

+33 (0)1 44 78 49 87

[email protected]

mOdERNITéS INdIENNES

18 OCTOBER 2017-19 MARCH 2018

press officer

Anne-Marie Pereira

+33 (0)1 44 78 40 69

[email protected]

CURaTOR

COmmUniCaTiOn anD PaRTnERSHiPS DEPaRTmEnT PRESS KiT...eventually the small group with Madhavi...

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