Nalini Malani, In Search of Vanished Blood, 2012
Afmetingen || six-channel video/shadow play with five rotating reverse painted Mylar cylinders, sound, 11 minutes, total dimensions variable, edition of 3
In search of vanished blood is a sprawling, multi-media experience blending imagery from multiple cultures with text, sound, and light, to explain what feels like the familiar, time-worn struggle of the woman as displaced other in search of the basic comforts of home, security, and even identity.
De installatie bestaat uit zes beamers en vijf Mylar cilinders. Het is een video-schaduwspel.
Het video-schaduwspel wordt door middel van beamers en cilinders geprojecteerd.
The viewer’s experience begins quietly, with a series of two-dimensional images, and a video sketch, “Penelope” (2012), in which a complex monster-looking creation emerges, line by line, and then disappears in the same manner. Malani’s delicate painted works, called “reverse paintings,” consist of blurry figures rendered in muted tones atop curiously busy backgrounds, something like bizarre graphing paper covered in swirling lines, arrows, maps, diagrams, and numbers. These images provide something of a primer, or even a mythological context, to the more overt video work displayed in the gallery’s larger space. Western and Eastern imagery meld together in these muddy portraits and the hint of a narrative emerges; some images represent a sort of primitivist scientific illustration, in which human and animal physiognomy, relationships, and trials are explained with fantastical metaphor, and other pieces hint at violence and the assertion of one culture (or creature, or gender) over another.