The Curatorial Backlogs #10 : My Reality is Different
Artist : Nalini Malani
Show : My Reality is Different
Location : National Gallery : London, England
Date Seen: 17 April 2023
Price : Free
Run Time : Opened at the Holburne Museum in Bath in October 2022, came to National Gallery in London in 2023 and will remain until June 2023
Sponsors:
Art Fund with additional support from the Dasha Shenkman OBE.
SP Lohia Foundation
Hiscox
National Gallery Contemporary Fellowship with Art Fund
The Sunley Room exhibition programme is supported by the Bernard Sunley Foundation
Curators:
Daniel F. Herrmann, National Gallery Curator of Modern and Contemporary Projects
“These paintings are not sacrosanct. They have to be looked at in a different way.”
– Nalini Malani
Malani is an artist from India who was the recipient of the National Gallery Contemporary Art Fund in Collaboration with the Holburne Museum in Bath. She worked with the National Gallery and the Holburne Museums Archives to digitally rework pieces of art in the canon. Malani reworks 25 pieces of classical paintings. She pairs with 9 overlapping projections that rotate and change over the course of about 20 minutes. This occurs alongside an audio telling of the Greek myth about the fall of Troy from the perspective of Cassandra. Cassandra is voiced by Alkanda Samarth. This work challenges the perspective of the traditional white male narrative evoked in many classical paintings and tellings of history, like the story of Troy. Malani’s work aims to give a voice to people (particularly women) who are oppressed by dominant cultures. Artist refers to the space she has created as an “animation chamber.”
Notes:
The animations are very rough, scribble-like. This contrasts the fine, preciseness of oil paintings Malini used in reference.
The animations were projected along 3 of the 4 walls within the space. Animations and audio was sometimes quick, and fast paced making it hard to focus and consume all that was happening. However, the animations did repeat so there was an opportunity to see things again. Length of the show was short (about 20 minutes) and could easily be reviewed/experienced if something was missed the first time around.
Significant placement of this piece in the National Gallery. The National Gallery works within the traditional art historical canon. The layout of the museum and the works shown within the gallery enforce this canon as well. Interesting placement to have Malani, an artist who is reworking pieces within the canon, set within the National Gallery. Does this imply the National Gallery is interested in being part of the conversation of reworking the framework of the art historical canon?
This piece definitely appeals to younger audiences as it is an “immersive” experience in many ways. The projection aspect leads it to being comparable to immersive experiences like Van Gogh, Klimt or David Hockney. Yet it is different in many ways as well. It was made for this and is creating a discussion about how we view history and asking the viewer to challenge the accepted narratives.
The layout emphasizes that this work is geared toward young people. Typically with works that are longer to be watched there is seating within the room. This space had no permanent seating fixtures in the space. Due to this, older people or folks with disabilities may not be included to stay as there is no place to rest other than the floor which may be hard to get up from. There were some foldable seats available, but not easily noticeable and located in the corner of the first room you enter into. Many young people were sat on the floor, which was carpeted to provide a small level of comfort.
Being geared toward younger people this exhibition seeks to maintain relevance in the changing demographics.
The audio and changing projections are not conducive to having a conversation to discuss the piece. This is fine for the casual viewer, not helpful for a class that may come to visit the show as there is no real place to discuss the show without distractions.
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