In Search of Vanished Blood

Tate Modern, London

MATERIALS AND OBJECTS 5
NALINI MALANI

Nalini Malani’s ‘video shadow plays’ combine video, shadow and sound to tell multiple stories. In this
work, she creates a tribute to women’s lives forgotten throughout history.

Each cylinder in In Search of Vanished Blood is reverse painted and features images of
dispossessed people, mythological figures and surgical instruments. They cast ominous shadows
which shift across the projections.

The artist draws inspiration from a range of sources. We hear Cassandra, a figure from Greek
mythology who predicts the future but is cursed, so no-one believes her. Referencing texts from
German writers Christa Wolf and Heiner Müller, Indian writer and activist Mahasweta Devi, Irish
author Samuel Beckett, and others, Cassandra anticipates violence against women during periods of
political upheaval. Her story unfolds through stop-motion animations inspired by both historic and
recent wartime atrocities.

The title of the work in Search of Vanished Blood is from the poem Lahu ka Surag 1965 by Pakistani
writer Faiz Ahmed Faiz. Lines from the poem appear over Cassandra’s veiled face. People who have
experienced violence reappear through the endless loops of recurring shadows, creating a sense of
lost hope. The sequence ends with a gesture in American Sign Language that expresses a longing
for democracy.

Malani’s work reflects her commitment to feminist activism. In Search of Vanished Blood amplifies
women’s voices to express Malani’s belief in humanism – the strength of what we have in common
rather than what divides us.


Nalini Malani, In Search of Vanished Blood, 2012-20.
Born 1946, India pre-partition (now Pakistan), works India and the Netherlands

Curated by Beatriz Cifuentes Feliciano.
Assistant Curator, International Art and Jess Baxter, Assistant Curator, International Art

from the Tate Modern information placard

A Game of Chess

Tate Modern, London

I took several shots of this installation but chose this one where I shot straight on, reducing the most central elements, perpendicular to the side I stood on, to mere lines.

“Conceived as a dynamic chess set, Institution vs. The Mass builds on [Anna] Boghiguian’s interest in the cycles of revolution and sociopolitical change throughout history.” see more on the Tate site

Barbara Kruger

Serpentine Gallery, London

Our next stop was the Serpentine Gallery for the Barbara Kruger show, Thinking of You. I Mean Me. I Mean You, which I had previously seen at the Art Institute of Chicago in 2021 (and here, and here). While this exhibit was necessarily much smaller than in Chicago it had also been greatly updated and made more use of video and LEDs (see a few shots below, click them to enlarge).

Text

Gagosian Gallery, London

Our school trip to London galleries followed the Photographer’s Gallery with a visit to Gagosian to see the exhibition of Douglas Gordon: All I need is a little bit of everything. See additional images below (and click on them to enlarge).

Camden Art Centre

Camden Art Centre, London

Several weeks ago, we did a crawl of London galleries, starting at the Camden Art Centre and the Bloomberg New Contemporaries, a student show that contained surprisingly mature work. Once again, I was struck by gallery spaces and the installation below (‘Twinkling finale’: 4.3.2‽_-⨅⨼, 2022 by Zayd Menk). Click either image below to see them larger.

Art Crawl

Intended to see 4 or 5 shows in London on Friday but in the end I spent a lot of time at the Tate Modern and only managed to fit in the Barbican Centre afterwards.

Rosa Barba, Wirepiece, 2022
Tate Modern, London

Projector, drum string, bridge saddle, 16mm film strip, microphone, and audio.

Rosa Barba, The Hidden Conference  2010–15

A 3-part film installation. Click any of the 3 images above o see them all enlarged.

Perfect Pie

Hales Gallery, 20th St and Eleventh Avenue, New York

Last weekend we went down to the Zwirner Galleries to see Hilton Als’ exhibition on James Baldwin, long a hero of mine for The Fire Next Time and Go Tell It on The Mountain. Watching old YouTube videos of him in debates or on talk shows is another good way to see his rhetorical brilliance displayed and enjoy watching his white interlocutors squirm. Unfortunately we went down on the last afternoon and the place was packed (with old white people) making it almost impossible to appreciate the exhibit. In particular it was hard to get to the tiny explanatory placards here and there to understand the context, so we abandoned it and went into a number of other Chelsea galleries.

I confess to a certain Philistinism when it comes to this kind of work (Richard Slee’s Perfect Pie at Hales Gallery).