National Gallery and Holburne Museum collaboration

Piece by Nalini Malani

The Holburne Museum, Bath is a little gem set in delightful gardens with an elegant 18th century facade was the backdrop for the popular - if historically dubious series, Bridgerton. Noted for its collection of 18th century art, there is also a fascinating collection of various artefacts including boxwood devotional figures, fans ceramic and silverware from Sir William Holburne's collection donated in 1882 when the museum opened. Following closure for an impressive modern extension, which includes a cafe, the museum reopened in 2011. Currently there is a mini exhibition of stunning sculptures - Degas to Rodin, including Degas' famous dancer in a tutu and exquisite figures by Rodin interspersed in display cases amongst the eclectic eighteenth century paintings.

Concurrently wonderful prints and bronzes by Elizabeth Frink are exhibited in Strength and Sensuality in a small room. They include the evocative The Canterbury Tales, and the classical Children of the Gods of which the etching of Ganymede is particularly striking.

It is good that attention is being drawn to such a delightful museum by the National Gallery's collaboration with provincial collections, extending its outreach. The National Gallery's first Contemporary Fellowship, supported by the Art Fund has been awarded to Nalini Malani, a multi media creative artist from India. She has created an artwork of over 40 metres entitled My Reality is Different, at the Holburne Museum. Animated video projections of 24 famous paintings from the Collections of the National Gallery and The Holburne are projected on the walls in a darkened room in continuous rotation conveying fragmented, surrealistic images. Malani goes beyond the Western norms of traditional art's linear view presenting another perspective where several images merge in new creative concepts underlying social history and activism which she sees as crucial to her role of artist in a contemporary setting. She draws images of women indicating issues of gender and slavery interspersed with the classical art. Malani would also suggest that the appropriation of art is a cause of fragmentation and concern. The origins of collectors and collections is divisive for many. Whether you agree with her or not she certainly presents an exciting dynamism that is thought provoking and stimulating .The nine projections are meant to be pondered upon and cannot be absorbed in five minutes as several critics were doing when I visited. There is an endless change of juxtapositions and interactions that affords the spectator the opportunity to be a co - creator in devolving the meanings of the images.

Powerful religious images such as Caraveggio's Supper at Emmaus have been juxtaposed with images from other art. The skull and other images from Harmen Steenwyck Still Life: An Allegory of the Vanities of Human Life, (about 1640) for example have been inserted into the continually changing scene. Blood is seen around Christ's forehead, giving a more Netherlandish image of the Passion, inspired by Bosch rather than the resurrected Christ of the Italian Caraveggio's subtle symbolism.

To the left of Christ's head written words from TS Elliot's The Wasteland appear.

Classical tales have been similarly transformed by handmade drawings using an iPad revealing and concealing aspects of the paintings in offering an alternative critique. They explore issues of race and gender amongst the marginalised whose labour underpins global economies. Disappearing then from view behind colourful stockmarket charts and examples of complex financial systems are superimposed.

A continuous voiceover of Cassandra - the classical prophetess whose words foreseeing doom were ignored by her contemporary civilisation - gives a powerful resonance to the exhibition. "Nothing left to describe the world but the language of the past. The language of the present has shrivelled," she declaims.

At our peril we too, ignore contemporary warnings signs of impending destruction by global warming, land misappropriation and war. Malani sees herself as a modern Cassandra, committed to pushing boundaries and experimenting with art and the moving image to provoke and inspire. The title My Reality is Different alludes to the Cheshire Cat in Lewis Carroll's Alice in Wonderland and Through the Looking Glass who states: "I'm not crazy - my reality is different to yours."

Malini portrays her art through her version of 'The Looking Glass', inspired by her background in creative arts in the theatre and contemporary video installations..Her exhibition- or animation chamber as she calls it- will move to the National Gallery next year.

All three Holburne Museum exhibitions run concurrently until 8 January 2023 in Bath.

LINK

Holburne Museum - www.holburne.org/