An abandoned warehouse of a cashew factory in Mattanchery is getting a new coat of paint. And a new yet old name, Uru, which stands for the wooden ship of Beypore and symbolises trade and exchange of culture. An old pillar in front has been tweaked into an installation with its top resembling the numeral ‘1’. On one side is a banyan tree, under which a space is being created for musicians to jam. On the ground floor, paintings are being erected while the spacious first floor is being readied for a film screening. The whole building overlooks the backwaters, with its customary weeds and stationary boats.
Uru is the latest hub of art and culture in Kochi, being launched by leading artist and Biennale co-founder Riyas Komu, who calls it an ‘art harbour’. The Mumbai-based artist envisions it as a space that will throb with art, literature, music, films and philosophy. “I have been longing for a marriage of literature and art,” says Riyas, who spearheads the Biennale movement along with Bose Krishnamachari.
Putting his idea into practice straightaway, the inauguration will see the release of a book on Narayana Guru called Guruchinthana, Oru Mukhavura, whose author prefers to remain anonymous. The paintings of K.P. Reji, who is doing a residency at Uru, a musical performance by Olam band and the screening of a film on Kesari Balakrishna Pillai are the other highlights. Galleries have been mushrooming in Kochi ever since the Biennale became a big hit, so why do we need one more? “For one, this is not a gallery but a centre for the arts. Secondly, Kochi still doesn’t have a place where a film can be screened,” says Riyas, who adds that Uru will double as a publishing house. He has already tied up with DC Books for the distribution and plans a series of children’s books.
Most importantly, the idea is not to make profit but to create a platform that is available for the artists as well as the local community. “It will be free but the model needs to be self-sustaining,” says Riyas. “Whatever profits we get will be reinvested here itself. I have been getting very good support from friends, scholars and film personalities and am confident of translating this goodwill into results.”
It is this confidence, the credo of varunnidathu vachu kanam (come what may), that helped him and Bose overcome stiff opposition and a fund crunch to launch the Biennale six years ago. The rumours of the time that he had to sell off some of his assets were no mere rumours but reality, he confirms. “The choice is between leading a lavish, relaxed life or to create great art,” he says, citing the example of M.F. Husain. “That is also why one can’t respect Husain beyond a point.” He points out how Kesari Balakrishna Pillai, whose biopic is being screened in Uru, had to sell his property so that he could start a printing press and died a pauper.
It was Leftist leaders like M.A. Baby and Kodiyeri Balakrishnan and bureaucrats like Venu Vasudevan who backed the founders in bringing the Biennale to Kerala but the change of government saw ‘the snakes crawling out of the pits’. “Chief Minister Oommen Chandy was also very supportive but the sense of ownership was not there during that period.” Acceptance is now near complete with the Left government again in the saddle and Venu back as tourism secretary. Even more importantly, ordinary people have warmed up to art of the kind the Biennales have brought home.
What about the perception outside the state? “They tell me that the Biennale can happen only in Kerala,” he says. “There is huge respect for our art, culture and political history.” There is a renewed energy, he agrees but hastens to add that this is no time to relax. “More than ever before, there is a need to build alternative spaces,” he says, clearly alluding to the perceived attempt in the country by the authorities to control art and literature besides politics.
