The organisers of the Kochi-Muziris Biennale have just begun preparations for its sixth edition a year from now. I still remember its start, on the euphonious date of 12.12.12—December 12, 2012—when a group of idealist artists embarked with some trepidation on a bold attempt to transform India’s art scene. In the dozen years since its inception, the biennale has made a profound impact on both Kerala and the nation at large. As the largest contemporary art festival in Asia, it has transformed Kochi into a vibrant hub for international and Indian artists, fostering a rich cultural exchange and attracting art lovers from across the country and abroad.
Inspired largely by the Venice Biennale, which since 1895 has been one of the most prestigious cultural events in the world, the Kochi-Muziris Biennale, too, hopes to develop a reputation for showcasing ground-breaking art and introducing significant artistic movements. Each edition of the biennale seeks to reflect trends, tackle contemporary issues, and give space to voices that might not have a stage elsewhere. It also acts as a think tank for the Indian art world, influencing future artistic directions.
This edition’s curator, Nikhil Chopra, reflects this ambition. Chopra’s artistic practice ranges across live art, theatre, painting, photography, sculpture and installations. His performances, in large part improvised, dwell on issues such as identity, the role of autobiography, the pose and self-portraiture, the process of transformation and even the part played by the duration of performance. Taking autobiographical elements as his starting point, Chopra combines everyday life and collective history; not just daily acts such as eating, resting, washing and dressing, but also drawing and making clothes acquire the value of ritual, becoming an essential part of the show. It’s an intriguing choice to have someone whose work spans so many genres curating a biennale that showcases all of these arts, and more.
The biennale’s contributions to India’s art scene have already been considerable. It provides a prestigious platform for Indian artists to showcase their work alongside international peers, enhancing their visibility and opportunities on the global stage. It encourages experimentation and innovation in art, with diverse mediums such as installations, new media, and performance art being prominently featured, as again underscored in the selection of Chopra.
The biennale also facilitates cultural dialogue and exchange, bringing together artists, curators, and audiences from different backgrounds to engage with contemporary issues through art.
One of the challenges the organisers have faced is the perennial one of funding. In addition to a number of private sponsors, the biennale relies on a core donation from the state government. This is not an indulgence even for a government as notoriously broke and financially overstretched as Kerala’s. The biennale has revitalised Kochi’s cultural landscape, drawing inspiration from the ancient port of Muziris, a centre of international commerce millennia ago. It has brought global attention to Kerala’s rich heritage and vibrant contemporary arts, and put Kerala on the world art map, significantly enhancing the state’s image worldwide. By attracting thousands of visitors from around the world the biennale has significantly boosted local tourism, benefiting the economy and promoting local culture and cuisine.
The four months of the biennale witness every hotel and restaurant—from five-star hotels to the smallest tea-shop—thronged with tourists. This is good for the state’s economy and for the tourism industry of God’s Own Country, beleaguered since the setback of the pandemic.
In addition, the biennale has had an under-appreciated impact on the local population. The event has engaged local communities through educational programmes, workshops, and public art projects, fostering a deeper appreciation for art among residents. By hosting the biennale, they have learned to appreciate the value of art in their own lives by seeing its appeal to others from around the world.
Overall, the Kochi-Muziris Biennale has not only enriched Kerala’s cultural fabric but also positioned India as a significant player in the global contemporary art scene. Its contributions continue to inspire and elevate the artistic community, making it a cornerstone of India’s cultural identity. This is why I urge the Kerala government—and more important, the art-loving people of India—to continue their sterling support for the biennale.
editor@theweek.in