Nalini Malani

Nalini Malani (born 1946) is a contemporary Indian artist. In her early career, she primarily worked in the realms of painting and drawing. Since the 1990s her work expanded to other forms of media like video, film and projected animation.[1] Her works are characterised by the expansion of the pictorial surface into surrounding space culminating in a layered visual narrative that takes the form of ephemeral wall drawings, shadow play, installations, multi projection works and theatre.[2] She adheres to the vision of the artist as a social activist. Her artworks are often politically motivated and focus on themes of displacement, conflict, transnational politics, critical examination of gender roles and the ramifications of globalisation and consumerism.[3] Throughout the course of her artistic career, she has strived to give voice to the stories of those marginalised by history with a focus on human and universal aspects of conflict and the relationship between the exploiter and the exploited.[1] Literature has been a recurrent source of inspiration and reference for Malani.[1] Her work has been featured in several international museums including Stedelijk Museum and the MoMA Museum of Modern Art.[4] She lives and works in Mumbai.[2]

Nalini Malani
Nalini Malani, In Search of Vanished Blood, Documenta 13 (2012).
Born1946 (age 73–74)
Karachi, British India
NationalityIndian
EducationSir Jamsetjee Jeejebhoy School of Art Bombay, 1964-69
Known forPaintings, Video art, Installations, Theatre
AwardsFukuoka Arts and Culture Prize, 2013
Websitenalinimalani.com

Early life and education

Born in Karachi, British India (now Pakistan) in 1946[5], Malani's family sought refuge in India during the Partition of India.[6] They moved to Kolkata, shortly before partition and relocated to Mumbai in 1958.[7] Her family's experience of leaving behind their home and becoming refugees deeply informs Malani's artworks.[8]

Malani studied Fine Arts in Mumbai[9] and obtained a Diploma in Fine Arts from Sir Jamsetjee Jeejebhoy School of Art in 1969.[2] During this period, she had a studio in the Bhulabhai Memorial Institute, Bombay, where artists, musicians, dancers and theater persons worked individually and collectively.[2] It was here that she had the opportunity to meet and collaborate with artists from allied forms of artistic practice like theatre.[8] She received a scholarship from the French Government to study fine arts in Paris from 1970-72. She was also a recipient of the Art Fellowship from the Government of India from 1984-89.

Career

After her graduation, she spent a few years working with photography and film.[10] The themes she explored during this period dealt with the turbulent time that India was experiencing politically and socially, as well the deepening literacy of moving image by its population.[11][10] In the initial part of her career, Malani mostly focussed on paintings - acrylic on canvas & watercolour on paper. She produced a realistic socially based portrayal of Contemporary India.[12] She continued to explore techniques such as the reverse painting method (taught to her in the late-80s by Bhupen Khakhar), which she would recurrently use in her future work. She was disappointed with the lack of acknowledgement that women artists had to face in India and resolved to bring them together for a group show to promote the sense of solidarity.[13] In 1985, she curated the first exhibition of Indian female artists, in Delhi. This led to a series of travelling exhibitions that were taken to public spaces as an attempt to go beyond the elitist atmosphere of the art gallery.[13]

The sectarian violence that hit India in the early 1990s after the demolition of Babri Masjid triggered a sudden shift in her artwork.[12] The renewed religious conflict that had proven to be recurring (bringing back memories of the Partition) pushed her artistic endeavours past the boundaries of the surface and into space.[14] Her earlier foray into performance art and her keen interest in Literature brought new dimensions to her art. She is often counted amongst the earliest to transition from traditional painting to new media work.[9] Multimedia served as the perfect platform for staging her multilayered narratives on conflicts, gender issues and feminism. Her career, which has spanned more than five decades shows a gradual movement towards new media and international collaboration.[2]

In 2013, she became the first Asian woman to receive the Arts & Culture Fukuoka Prize for her "consistent focus on such daring contemporary and universal themes as religious conflict, war, oppression of women and environmental destruction."[14] Malani is represented by Galerie Lelong, Paris and New York. Besides this, she has also served various artist residencies in India, Singapore, the US, Japan and Italy.[2]

Works

As an artist Malani has always sought to provoke dialogue by going beyond legitimised boundaries and exceeding the conventional narratives.[2] For two-dimensional works, she uses both oil paintings and watercolors. Her other inspirations are her visions from the realm of memory, myth and desire. The rapid brush style evokes dreams and fantasies.[15] Malani's video and installation work allowed her to shift from strictly real space to a combination of real space and virtual space, moving away from strictly object-based work. Her video work often references divisions, gender, and cyborgs.[15] Malani roots her identity as female and as Indian, and her work might be understood as a way for her identity to confront the rest of the world.[16] She often references Greek and Hindu mythology in her work. The characters of 'destroyed women' like Medea, Cassandra and Sita feature often in her narrative.[9] Her multifaceted oeuvre can be broadly classified under two categories; Her experiments with visual media and the moving image like Utopia (1969-1976), Mother India (2005), In Search of Vanished Blood (2012); Her ephemeral and in-situ works such as City of Desires (1992), Medea as Mutant (1993/2014), The Tables have turned (2008). Although her work talks of violence and conflict, her main intent is collective catharsis.[17]

Selected art works

City of Desires (1992)

For her 1992 path-breaking installation "City of Desires," at the Chemould Gallery in Mumbai, she drew directly on the walls. The resulting work was ephemeral and site-specific, speaking against Hindu Fundamentalism that was on the rise.[18]

Remembering Toba Tek Singh (1998)

Malani's video installation Remembering Toba Tek Singh is a multi-layered and complex video installation with visual, audio, and interactive components, re-examining the history of India and Pakistan during the Partition of India. The work is based on the short story Toba Tek Singh by Saadat Hasan Manto.[19] includes archival footage of "Little Boy" and "Fat Man", the nuclear bombs in Hiroshima and Nagasaki, equating the Partition of India with destructive violence.

Hamletmachine (2000)

In this video installation (based on a play by Müller), the artist analogically compares India to Hamlet, "never quite knowing which way to go, how to decide, and therefore making wrong decisions." The videos plays consists of four projections - three on walls and the fourth on a bed of salts on the floor. The last projection is a reference to Gandhi's salt march of 1930. The crux of the series of projections was a critique on Hindu Nationalism.[1]

Unity in Diversity (2003)

Malani's 2003 video play, Unity in Diversity, is based on the renowned 19th century Indian painter Raja Ravi Varma's Galaxy of Musicians, with the overt theme of nationalistic unity displayed through the garb of eleven musicians from different parts of India seemingly playing in harmony. Malani makes a statement on this idealised version of unity by incorporating later histories of violence into that image.[20]

Mother India (2005)

The video installation was inspired by an essay by the sociologist Veena Das titled "Language and Body: Transactions in the Construction of Pain".[21] It is a synchronised five screen wall-to-wall projection combines archival footage with poetic and painterly image to tell the story of how Indian Nationalism was built using the bodies of women as metaphors for the nation. The work speaks of women as "mutant, de-gendered and violated beyond imagination."[21] The Partition of India and the Gujarat Riots of 2002 are the central events that are referenced in this installation,[22] as there was a sharp increase in the violation of women in these periods.[23]

In Search of Vanished Blood (2012)

This installation which was first produced for the 13th edition of Documenta consists of five larger rotating Mylar cylinders (metaphorically referring to Buddhist prayer wheels[24])reverse painted with images of soldiers, animals, gods and guns.[23] The shadow play caused by this rotation tells the story of senseless bloodshed especially narrating the story of India since the partition and highlighting the plight of the dispossessed/tribal communities whose lives are drastically affected by developmental decisions made by the government.[13]

Selected Solo exhibitions[25]
Nalini Malani, The Rebellion of the Dead, 2017
  • Nalini Malani: You Don't Hear Me (2020), Miró Foundation, Barcelona, Spain
  • Nalini Malani: The Witness (2020), Dr. Bhau Daji Lad Mumbai City Museum, Mumbai, India
  • Nalini Malani: Can You Hear Me? (2019 - 2020), Goethe Institut Max Mueller Bhavan, Mumbai, India
  • Can You Hear Me? : Nalini Malani 1969-2018 (2018), Arario Gallery, Shanghai, China
  • Nalini Malani: The Rebellion of the Dead: Retrospective 1968-2017 Part II (2018), Castello di Rivoli, Turin, Italy
  • Nalini Malani: The Rebellion of the Dead: Retrospective 1969-2017 Part I (2017), Centre Pompidou, Paris, France
  • Nalini Malani: Transgressions (2017), Stedelijk Museum, Amsterdam, Netherlands
  • Nalini Malani: In Search of Vanished Blood (2016), Institute of Contemporary art, Boston, USA
  • Nalini Malani: Stories Untold (2015), Institute of Contemporary Art Indian Ocean, Port-Louis, Mauritius
  • Nalini Malani: Transgressions (2014), Asia Society Museum, New York, USA
  • Nalini Malani, Engadiner Museum (2014), St. Moritz, Switzerland
  • Nalini Malani: LIGHTS OUT (2014), co-commissioned by Edinburgh Art Festival and 14-18 Now, WW1 Centenary Art commissions, Scottish National Gallery, Edinburgh, United Kingdom
  • Nalini Malani: You can't keep Acid in a Paper Bag (2014), Kiran Nadar Museum of Art, New Delhi, India
  • Nalini Malani: Listening to the Shades (2013), Dr Bhau Daji Lad Mumbai City Museum, Mumbai, India
  • Nalini Malani, Fukuoka Asian Art Museum (2013), Fukuoka, Japan
  • Nalini Malani: Beyond Print - Memory, Transference, Montage (2013), Centre de la Gravure, La Louvière, Belgium
  • Nalini Malani: In Search of Vanished Blood (2013), Galerie Lelong, New York, USA
  • Mother India: Videoplays by Nalini Malani (2012), Art Gallery of New South Wales, Sydney, Australia
  • Nalini Malani: Splitting the Other (2010), Musée Cantonal des Beaux-Arts, Lausanne, Switzerland
  • Nalini Malani (2009), Govett Brewster Art Gallery, New Plymouth, New Zealand
  • Nalini Malani: Cassandra (2009), Galerie Lelong, Paris, France
  • Nalini Malani: Listening to the Shades (2008), Arario Gallery, New York, USA
  • Nalini Malani (2007), Walsh Gallery, Chicago, USA
  • Nalini Malani (2007), Irish Museum of Modern Art, Dublin, Ireland
  • Nalini Malani: Living in Alicetime (2006), Sakshi Gallery, Mumbai, India; Rabindra Bhavan, New Delhi, India
  • Exposing the Source: The Painting of Nalini Malani (2005), Peabody Essex Museum, Massachusetts, USA
  • Nalini Malani: Stories Retold (2004), Bose Pacia, New York, USA
  • Nalini Malani: Hamletmachine (2002), New Museum of Contemporary Art, New York, USA
  • Nalini Malani (2002), Apeejay Media Gallery, New Delhi, India
  • Nalini Malani: Stories Retold (2002), Sakshi Gallery, Mumbai, India
  • Nalini Malani: The Sacred & The Profane (2000), Sakshi Gallery, Mumbai, India
  • Nalini Malani: Remembering Toba Tek Singh (1999), Prince of Wales Museum (now Chhatrapati Shivaji Maharaj Vastu Sangrahalaya), Mumbai, India
  • Nalini Malani: The Job (1997), Goethe Institut Max Mueller Bhavan, Mumbai, India
  • Nalini Malani: ’Mutants’, Artist's Books, Homage to Josef Albers, (1997) Sakshi Gallery, Mumbai India; Gallery Espace, New Delhi, India
  • Nalini Malani: Medea (1996), Goethe Institut Max Mueller Bhavan, Mumbai, India
  • Nalini Malani: Bloodlines (Works on Canvas), Artist’s Laboratory (Works on Paper) (1995), Gallery Chemould, Mumbai, India
  • Nalini Malani: Medea (1993), Goethe Institut Max Mueller Bhavan, Bombay (now Mumbai), India
  • Nalini Malani (1992), L.T.G. Art Gallery, New Delhi, India
  • Nalini Malani, City of Desires (1992), Gallery Chemould, Bombay (now Mumbai), India
  • Nalini Malani, Hieroglyphs & Other Works, Painted Books, Installation (1991), Gallery Chemould, Jehangir Art Gallery, Bombay (now Mumbai), India
  • Nalini Malani: Under the Skin (1990), Gallery 7, Bombay (now Mumbai), India
  • Nalini Malani (1986), Pundole Art Gallery, Bombay (now Mumbai), India
  • Nalini Malani (1984), Pundole Art Gallery, Bombay(now Mumbai), India
  • Nalini Malani: His Life (1980), curated by E. Alkazi, Art Heritage, New Delhi, India
  • Nalini Malani (1980), Pundole Art Gallery, Bombay (now Mumbai), India
  • Nalini Malani (1979), Pundole Art Gallery, Bombay (now Mumbai), India
  • Nalini Malani (1975), Pundole Art Gallery, Bombay (now Mumbai), India
  • Nalini Malani (1973), Pundole Art Gallery, Bombay (now Mumbai), India
  • Nalini Malani (1970), Pundole Art Gallery, Bombay (now Mumbai), India
  • Nalini Malani (1966), Pundole Art Gallery, Bombay (now Mumbai), India

Selected Group Exhibitions

Selected Biennials

Museum Group Exhibitions
  • A Fiction Close to Reality (2019), curated by Claire Walsh, Irish Museum of Modern Art, Dublin, Ireland
  • Rothko at Lampedusa (2019), organised by UNHCR, Palazzo Querini, Venice, Italy
  • Homeless Souls (2019), curated by Marie Laurberg, Louisiana Museum of Modern Art, Humblebaek, Denmark
  • The Collection (2018), curated by M. Schavemaker, Stedlijk Museum, Amsterdam, The Netherlands
  • Fearless: Contemporary South Asian Art (2018), curated by Natalie Seiz, Art Gallery of New South Wales, Sydney, Australia
  • Delirium // Equilibrium (2018), curated by Roobina Karode, Kiran Nadar Museum of Art , New Delhi, India
  • Hand Drawn Action Packed (2018) curated by Hayward Gallery Touring, St. Albans Museum + Gallery, St. Albans, England, Wolverhampton Art Gallery, Wolverhamptons, England; The Huntarian Art Gallery, Glasgow, Scotland; Glynn Vivian Art Gallery, Swansea, Wales
  • Awakenings: Art and Society in Asia 1960s-1980s (2018); curated by Bae Myungji, Cheng Jia Yun, Suzuki Katsuo, Seng Yu Jin, Adele Tan, Charmaine Toh, Masuda Tomohiro, Museum of Modern Art, Tokyo, Japan; MMCA Seoul, Korea; National Gallery Singapore
  • Journeys with the Waste Land (2017), Turner Contemporary, Margate, England
  • Imaginary Asia (2017), curated by J. Suh, H. Seo, Nam June Paik Art Center, Yongin, South Korea
  • Contemporary Stories: Revisiting Indian Narratives (2016), curated by Rashmi Viswanathan Princeton University Art Museum, New Jersey, USA
  • Refugees (2016), curated by T Bailey, Casula Powerhouse Arts Centre, Sydney, Australia
  • The Journey is the Destination (2016), curated by Kamini Sawhney, Jehangir Nicholson Art Foundation, Chattrapati Shivaji Maharaj Vastu Sangrahalaya, Mumbai, India
  • All Men Become Sisters (2015-16), curated by Joanna Sokołowska, Muzeum Sztuki, Lodz, Poland
  • Scenes for a New Heritage: Contemporary Art from the Collection (2015), curated by Quentin Bajac, Eva Respini, Ana Janevski, Sarah Suzuki, and Katerina Stathopoulou, Museum of Modern Art, New York, USA
  • Nalini Malani - Ana Mendieta - Nancy Spero (2015), Galerie Lelong, Paris, France
  • Working Spaces: Around Memory and Perception (2015). curated by Roobina Karode, Kiran Nadar Museum of Art, New Delhi,India
  • Infinite Challenge (2014), curated by S. Yi, S. Chang, National Museum of Modern and Contemporary Art, Seoul, South Korea
  • L’exigence de la saudade (2013), curated by Zasha Colah, Sumesh Sharma, Kadist Art Foundation, Paris, France
  • The Sahmat Collective: Art and Activism in India since 1989 (2013), curated by J. Moss, R. Rahman, Smart Museum of Art, Chicago, USA
  • Move on Asia (2013), curated by J. Suh, ZKM Media Museum, Karlsruhe, Germany
  • Midnight to the Boom: Painting in India after Independence (2013), curated by S. Bean, Peabody Essex Museum, Salem, USA
  • Caught in the Crossfire: Artistic Response to Conflict, Peace and Reconciliation (2013), curated by N. Gauld, Herbert Art Gallery and Museum, Coventry, England
  • Moving on Asia (2012), curated by J. Kim, Alt. Space LOOP, Seoul Museum of Art, Seoul Art Space SEOKYO, Seoul, South Korea
  • Voicing a Presence: Women Artists, curated by (2012), curated by Kamini Sawhney, Jehangir Nicholson Collection, Chattrapati Shivaji Maharaj Vastu Sangrahalaya, Mumbai, India
  • Panorama: Recent art from Contemporary Asia (2012), curated by B. Tan, Singapore Art Museum, Singapore
  • Lines of Control, Partition as a Productive Space (2012), curated by I. Dadi, H. Nassar, Cornell University Herbert F. Johnson Museum of Art, Ithaca, USA
  • Modernist Art from India: The Body Unbound (2011), curated by B. Citron, Rubin Museum of Art, New York, USA

Awards, Fellowships, and Residencies

Awards
  • 2019: Joan Miró Prize, Fundació Joan Miró, Barcelona, Spain[26]
  • 2016: Asia Arts Game Changer, Asia Society, Hong Kong
  • 2014: St. Moritz Art Masters Lifetime Achievement Award, St. Moritz, Switzerland[27]
  • 2013: Fukuoka Arts and Culture Prize for Contemporary Art, Fukuoka, Japan [28]
  • 2010: Honorary Doctorate in Fine Arts, San Francisco Art Institute, USA
  • 1970-72: French Government Scholarship for Fine Arts Study in Paris

Fellowships

Residencies
  • 2005: Lucas Art Residencies, Montalvo, California, USA[30]
  • 2003: Civitella Ranieri, Umbertide, Italy[31]
  • 1999/2000 Fukuoka Asian Art Museum, Fukuoka, Japan[32]
  • 1999: Lasalle-SIA, Singapore
  • 1988: Kasauli Art Centre, Kasauli, India

Literature
  • Nalini Malani: The Rebellion 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 C. Christov-Bakargiev, M. Bal, M. Beccaria, L. Monnet, interview by M. Beccaria).
  • Nalini Malani: The Rebellion of the Dead, Part I 1969-2018, edited by S. Duplaix, Centre Georges Pompidou, Museé national d’art modern, Paris, Éditions du Centre Pompidou, Paris, Hatje Cantz Verlag, Ostfildern 2017 (texts by S. Duplaix, M. Bal, J. Pijnappel, interview by S. Duplaix).
  • M. Bal, In Medias Res: Inside Nalini Malani’s Shadow Plays, edited by K. Tengbergen-Moyes, Hatje Cantz Verlag, Ostfildern 2016.
  • Nalini Malani: You can’t hold Acid in a Paper Bag (Retrospective 1969-2014), edited L. Betting, S. Bhatt, J. Pijnappel, Kiran Nadar Museum of Art, New Delhi 2015 (texts by R. Karode, S. Jhaveri, C. Sambrani, A. Rajadhyaksha, R. Devenport, D. von Drathen. - interview by S. Jhaveri).
  • Nalini Malani: Cassandra’s Gift, edited by V. Shivadas, Vadehra Art Gallery, New Delhi 2014 (text by V. Shivadas).
  • William Kentridge-Nalini Malani: The Shadow play as Medium of Memory, edited by C. Gute, Galerie Lelong, New York, Charta, Milan 2013 (text by A. Huyssen).
  • Nalini Malani, Artist File 2013, edited by O. Fukunaga, National Art Centre, Tokyo 2013 (text by Y. Motohashi).
  • Nalini Malani & Arjun Appadurai: The Morality of Refusal, edited by K. Sauerlander, dOCUMENTA (13), Kassel, Hatje Cantz Verlag, Ostfildern 2012 (text by A. Appadurai).
  • Nalini Malani: WOMANTIME, Art Musings, Bombay 2013 (text by A. Doshi).
  • Nalini Malani: In Search of Vanished Blood, edited by Z. Colah, J. Pijnappel, dOCUMENTA (13), Kassel, Hatje Cantz Verlag, Ostfildern 2012 (texts by A. Huyssen, J. Pijnappel, N. Malani in conversation with C. Christov-Bakargiev, N. Malani in conversation with A. Appadurai).
  • 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: Cassandra, Galerie Lelong, Paris 2009 (texts by J. Frémon, D. von Drathen).
  • Nalini Malani: Listening to the Shades, edited by J. Pijnappel, Arario Gallery, New York, Charta, Milan 2008 (text by R. Storr, with text by the artist).
  • Nalini Malani, edited by S. Kissáne, J. Pijnappel, Irish Museum of Modern Art, Dublin, Charta, Milan 2007 (texts by E. Juncosa, T. McEvilley, C. Sambrani, interview by J. Pijnappel, with texts by the artist).
  • Nalini Malani: Living in Alice Time, Sakshi Gallery, Bombay 2006 (texts by N. Adajania, S. Bean).
  • Nalini Malani: Stories Retold, Bose Pacia, New York 2004 (texts by di R. Devenport, C. Sambrani).
  • Nalini Malani: Hamletmachine, edited by J. Matsuura, M. Kamachi, Fukuoka Asian Art Museum, Fukuoka 2000 (with text by the artist).
  • Nalini Malani: Medeaprojekt, edited by K. Kapoor and A. Desai, Max Mueller Bhavan, Bombay 1997 (texts by K. Kapoor, C. Sambrani, A. Rajadhyaksha, A. Samarth, interview by S. Gokhale).
  • Nalini Malani: Containers ’96: Art Across the Oceans, Copenhagen Cultural Capital Foundation, Copenhagen 1996 (interview by K. Kapoor).
  • Nalini Malani: Bloodlines, Artist’s Laboratory, Gallery Chemould, Bombay 1995 (with text by the artist).
  • Nalini Malani, Hieroglyph’s & Other Works, Painted Books, Installation, Sakshi Gallery, Madras 1992 (text by A. Rajadhyaksha).
  • Nalini Malani, Gallery Chemould, Bombay 1991 (with text by the artist)
  • Nalini Malani, Gallery 7, Bombay 1990 (text by S. Gokhale).
  • Nalini Malani, Pundole Art Gallery, Bombay 1986 (text by P. Kurien).
  • Nalini Malani, Pundole Art Gallery, Bombay 1984 (text by A. Sinha).
  • Nalini Malani, Art Heritage, New Delhi 1980 (text by G. Kapur).
  • Nalini Malani, Pundole Art Gallery, Bombay 1979 (interview by Y. Dalmia).
  • Nalini Malani, Pundole Art Gallery, Bombay 1973 (text by A. Jussawalla).
  • Nalini Malani: Paintings and Photograms, Pundole Art Gallery, Bombay 1970

Museum Collections
gollark: (unless advancing technology makes it so I wouldn't have to spend unreasonable amounts of time on the annoying bits of childraising)
gollark: (not that I currently intend to have children)
gollark: Less good than they otherwise would be, yes, but not exactly to the point that it'll be awful in 50 years or something like that.
gollark: I don't think any of the IPCC climate change scenarios actually have stuff like poverty and wealth and whatever getting *worse* on average, though.
gollark: Ah yes, the very trustworthy Wikipedia list of greenhouse gases mentions this "nitrogen dioxide".

See also

References
  1. "Nalini Malani". Saffronart. Retrieved 6 April 2019.
  2. "Nalini Malani - Biography". www.nalinimalani.com. Retrieved 6 April 2019.
  3. "Nalini Malani - 73 Artworks, Bio & Shows on Artsy". www.artsy.net. Retrieved 6 April 2019.
  4. "Malani, Nalini | Biography". www.mutualart.com. Retrieved 6 April 2019.
  5. Phaidon Editors (2019). Great women artists. Phaidon Press. p. 257. ISBN 0714878774.
  6. Sharma, Meara; Peck, Henry (7 March 2013). "A Conversation With: Video Artist Nalini Malani". The New York Times.
  7. Juncosa, Enrique; Malani, Nalini; McEvilley, Thomas; Pijnappel, Johan; Sambrani, Chaitanya (2007). Nalini Malani. Dublin: Irish Museum of Modern Art. ISBN 8881586444.
  8. "Social engagement has always been part of my art'". The Indian Express. 7 January 2018. Retrieved 6 April 2019.
  9. Seervai, Shanoor. "A Retrospective of the Works of Nalini Malani Who Paints in Reverse". Wall Street Journal.
  10. Cassandra Naji. "Indian artist Nalini Malani talks myth, metaphor and women – interview | Art Radar". Retrieved 29 April 2017.
  11. Seervai, Shanoor (10 October 2014). "A Retrospective of the Works of Nalini Malani Who Paints in Reverse". WSJ. Retrieved 29 April 2017.
  12. McEvilley, Thomas (4 June 2009). "Nalini Malani: Postmodern Cassandra". The Brooklyn Rail. Retrieved 6 April 2019.
  13. dmovies.net (13 May 2015), Nalini Malani, retrieved 6 April 2019
  14. Mallonee, Laura C. "Nalini Malani on Her Career and Bringing Her Documenta 13 Shadow Play". Observer.
  15. Rajadhyaksha, Ashish (2003). "Spilling Out: Nalini Malani's Recent Video Installations". Third Text. 17 (1). Retrieved 6 March 2016.
  16. McEvilley, Thomas (June 2009). "Nalini Malani: Postmodern Cassandra". Brooklyn Rail.
  17. Vial Kayser, Christine (2015). "Nalini Malani, a Global Storyteller". Retrieved 7 April 2019.
  18. "Nalini Malani - Installations". www.nalinimalani.com. Retrieved 6 April 2019.
  19. Malani, Nalini. "Remembering Toba Tek Singh".
  20. Turner, Webb, Caroline, Jen (2016). Art and Human Rights: Contemporary Asian contexts. England: Oxford University Press. ISBN 9780719099571.
  21. "Nalini Malani -Video". www.nalinimalani.com. Retrieved 7 April 2019.
  22. "Disembodied Voices | Nalini Malani: Mother India | Art Gallery of New South Wales | Sydney". www.mutualart.com. Retrieved 7 April 2019.
  23. "Nalini Malani Turns to a Greek Myth to Retell Indian Tragedies". www.mutualart.com. Retrieved 7 April 2019.
  24. "The Oracle and the Artist". The Indian Quarterly – A Literary & Cultural Magazine. Retrieved 7 April 2019.
  25. "Nalini Malani - Artists - Galerie Lelong". www.galerielelong.com. Retrieved 30 April 2019.
  26. Miró, Fundació Joan. "Nalini Malani | Joan Miró Prize". Fundació Joan Miró. Retrieved 1 July 2020.
  27. name, Site. "Nalini Malani St. Moritz Art Masters Award 2014 / ArtReview". artreview.com. Retrieved 29 April 2017.
  28. "Nalini MALANI｜Laureates". Fukuoka Prize (in Japanese). Retrieved 29 April 2017.
  29. "Artist Nalini Malani receives the first National Gallery Contemporary Fellowship with Art Fund | Press releases | National Gallery, London". www.nationalgallery.org.uk. Retrieved 1 July 2020.
  30. "Montalvo Arts Center | Residencies | Past Fellows". montalvoarts.org. Retrieved 30 April 2019.
  31. "Civitellians Featured in 'The Artist Project'". Civitella Ranieri. 2 January 2018. Retrieved 30 April 2019.
  32. "Fukuoka Asian Art Museum". faam.city.fukuoka.lg.jp. Retrieved 30 April 2019.
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