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In Medias Res: Visiting Nalini Malani’s Retrospective Exhibition, New Delhi, 2014

In Medias Res: Visiting Nalini Malani’s Retrospective Exhibition, New Delhi, 2014 In Medias Res Visiting Nalini Malani’s Retrospective Exhibition, New Delhi, 2014 mieke bal Entering It was 2:50 p.m. on Sunday, December 21, 2014, the last day of the last chapter of a tripartite retrospective exhibition of Nalini Malani in the Kiran Nadar Museum of Art in New Delhi. Eager to spend as much as possible of the mere three hours I had remaining to me with the works, which I knew to demand durational looking, I fi rst did a quick reconnoitering walk- through. In the middle gallery— one of three— a uniformed guard stood next to an enormous charcoal wall drawing. He diligently supervised the public, ensuring that they would not come too close and smudge the drawing; charcoal smudg- es easily, and this would ruin the work. The drawing was a larger- than- life nude woman, her height combined with her low position compelling a kind of crotch- shot look that invariably makes one un- easily complicit in the culture of exploitative, or even abusive, “look- ing” familiar to pornography. The fi gure returns a fi ery look, as if pre- empting our lack of modesty, confronting the visitor with her fury that, before she became a http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Qui Parle: Critical Humanities and Social Sciences University of Nebraska Press

In Medias Res: Visiting Nalini Malani’s Retrospective Exhibition, New Delhi, 2014

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Publisher
University of Nebraska Press
ISSN
1938-8020

Abstract

In Medias Res Visiting Nalini Malani’s Retrospective Exhibition, New Delhi, 2014 mieke bal Entering It was 2:50 p.m. on Sunday, December 21, 2014, the last day of the last chapter of a tripartite retrospective exhibition of Nalini Malani in the Kiran Nadar Museum of Art in New Delhi. Eager to spend as much as possible of the mere three hours I had remaining to me with the works, which I knew to demand durational looking, I fi rst did a quick reconnoitering walk- through. In the middle gallery— one of three— a uniformed guard stood next to an enormous charcoal wall drawing. He diligently supervised the public, ensuring that they would not come too close and smudge the drawing; charcoal smudg- es easily, and this would ruin the work. The drawing was a larger- than- life nude woman, her height combined with her low position compelling a kind of crotch- shot look that invariably makes one un- easily complicit in the culture of exploitative, or even abusive, “look- ing” familiar to pornography. The fi gure returns a fi ery look, as if pre- empting our lack of modesty, confronting the visitor with her fury that, before she became a

Journal

Qui Parle: Critical Humanities and Social SciencesUniversity of Nebraska Press

Published: Dec 2, 2015

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