Kochi-Muziris Biennale 2012: A Photo Critique
// January 1st, 2013 // Cultural Politics
Kochi – Muziris Biennale 2012 main venue at Aspinwall House. Huge bio installation on the left and bamboo structures to the right.
Pepper House in Calvathy Road, another main venue of Kochi Biennale
Detail from Vivan Sundaram’s installation with potsherds from Pattanam/Muziris.
Part of Kochi city on the mainland from Fort Cochin boat dock
People from Kerala and abroad queuing up to buy tickets worth Rs 50 for the Biennale at Aspinwall.
From a big sculptural installation by Reghunadhan K
Pregnant with Kerala culture, society and history: Projected and aligned (on one eye) self portraits by Vivek Vilasini that visually engage with the world and the region very subtly but with an illuminating impact.
Cruisers in the Wellington Island harbor; a view from Mattanchery dock, before the Dutch Palace
Self portrait taken aboard the ferry boat from Ernakulam to Fort Kochi
Altering the whole urban scape: A huge mural on a warehouse near OED gallery
“Last Supper for Gaza” by Vivek Vilasini at Aspinwall. Very much contemporary politically contingent and visionary.
The Jewish Synagogue, Jew Town, Mattanchery south of Fort Cochin.
The art of the possible;Biennale as self discovery and social empowerment: Standing tall with Babasaheb’s image. A self portrait before Vivek Vilasini’s altered portraits.
The art of flying: An egret gliding along the boat on the way to Fort Kochi for the Biennale.
Art that responds to genocides and fascism: Detail from Zakir Husain
On the margins of the Biennale: Artist Victoria in her Namaste Studio on Bazar Road connecting Fort Kochi with Mattanchery.
Huge installations in Aspinwall. Inside and outside we see real and represented imagery from navigation and overseas trade. What is real and what is imaginary are real questions in the Biennale, prompting us to ponder on the truths in art.
Mala Aravindan and Parvathy Omanakuttan on location of a Malayalam film at Bazar Road.
Phenomenal and awesome: Subodh Gupta’s big installation using an old country boat of Kochi at Aspinwall.
Riding on an auto through Bazar Road
A mural on an abandoned godown wall by artists from Europe. The decay and garbage are also part of the lay out, connecting art with its material ground realities in an illuminating way in the third world.
White luxury cruising liners from Europe berthed at Kochi
‘Zen’ percent up-cycling: A French artist and conservationist making art and toys out of plastic wastes, near OED on Bazar Road.
Riaz Komu and Bose Krishnamachari the curators of the Kochi-Muziris Biennale 2012; addressing the people at Aspinwall House.
A sand painting on canvas by Paris Viswanathan
Jewish synagogue from the east. A glimpse through the eastern gate to Jew Town, Mattanchery
Artists in conversation at Aspinwall House, Fort Cochin.
An antique art cafe in Jew Town, Mattanchery, Kochi.
An abstract painting by Joti Basu displayed in Aspinwall House.
Distinctly displayed and curated photographs by Atul Dodiya in the lab of Aspinwall.
Kochi from Aspinwall House, Fort Cochin.
Thumbinkal Chathan (Demon at Thumbinkal or Thumbinkal Sastha)by K P Reji. Oil on a huge canvas, the pivotal painting of the Kochi Biennale 2012 that articulates the subaltern past and present of Kerala. The issue of caste, slavery and the dalit question is evocatively but powerfully brought forth by K P Reji in a dexterous way inspiring awe and wonder. See the agricultural slave, the Pulaya Chathan/Sastha in the foreground sacrificed on the bund in the paddy field. This huge triple canvas substantiates the presence of the people in the Biennale at Kochi.
Artist Kabitha Mukherjee explaining about the gouache technique in K Prabhakaran’s work exhibited at Aspinwall to Artist Jain K G.
From a multiple video installation: The deconstruction of ‘capitalism,’ seems to be too plain and macro political.
Painted sunset: Binnale paintings on display at Fort Kochi beach walkway.
Kochi through the attic casement of Moidu Heritage a prominent venue of 2012 Biennale Kochi-Muziris.
The magical world of painting and colors at the Kochi Biennale.
Before Prabhakaran’s paintings and drawings at Aspinwall.
Before an installation using a motor cycle.
Sultan of Indian art: M F Husain with his Ferrari; a photo by Atul Dodiya.
A young Indian artist’s perception of the elements in a multi canvas installation at Aspinwall.
Painting back and talking feminist: An amazing long canvas by Kerala artist, Jalaja P S being admired by a young group of students, mostly boys.
A Jina in white marble on display in an antique shop in Jew Town, Mattanchery.
Northern block of Aspinwall. Jonas Stall’s installation using the flags of banned outfits on the right. It was censored by the police.
A glass painting with acrylic by an Australian artist at OED, Bazar road.
The northern waterfront of Aspinwall.
Detail from an installation using only organic biodegradable things at Aspinwall.
Heavan on earth: Fort Kochi milked in new year lights…
Biennale as an arena of imaging and photography. Young students zooming in with their barrels at Pepper House.
Art that provokes the police. Jonas Stall’s installation using flags or banned outfits.
The loneliness of the hero: Bose Krishnamachari lost in deep thought amidst the crowd at Kochi Biennale 2012.
Photos of the Kerala bishops by Anup Mathew Thomas.
Where nature, art and people meet: props of Sheela Gowda’s stone installation projecting into the Aspinwall dock beside the ship channel in Fort Kochi.
A still from a breathtaking music installation quartet on street musicians across the world by Angelica Mesiti. A blind train musician in the Arab world in picture.
A view of Bazar road near the Dutch Palace in Mattanchery.
A hanging installation on the attic of Moidu Heritage by Latin American artist Ernesto Neto.
Detail from K P Reji’s Thoombinkal Chathan. See the life in the periphery and the persistent presence of the past in the present, rendered through live imagery with the Chathan/Sastha/(Boddhi)Satvan lying in the foreground. The life of the excluded in the margin is still unaltered by the shipments and cargo of modernity and social mobility. Marginal existence exists as a phantom or specter of the real and the imagined nation and community. The painting is such a grave socio political and aesthetic critique of Kerala modernity, democracy and cultural history at large. It also anticipates certain coming communities that are inoperative in the contemporary sense but radically subversive in its making. The awesome impact of the work is in its silent and solemn grey tone. The painting generates intertextual references to the short stories of C Ayyappan and ultimately to the songs and spirituals of the legendary Poykayil Appachan who unleashed the memory of slavery in Kerala in the early decades of the 20th century. See the power of art that can engage so swiftly with history and reality.
Calvathy Canal separating Frot Kochi and Mattanchery.
Sunset at Fort Kochi beach.