It was a lazy Sunday evening for everyone, but things were quite different in Fort Kochi, where the third edition of Kochi Muziris Biennale was happening. The spirit of the art event is in the air, on the walls and even on auto rickshaws that have turned ‘Arto rickshaws’ for the biennale. In Aspinwall House, one of the major venues of the art event, artists and helpers are busy with preparations. Artworks installed inside and outside seem to be awaiting visitors to narrate their stories. And then, there is curator Sudarshan Shetty introducing a few artworks in Aspinwall.
The Kochi-Muziris Biennale (KMB) 2016 features productions and performances of 97 artists from 31 countries. Titled ‘Forming in the Pupil of an eye’, this year’s biennale space is shared by writers, dancers, poets, musicians, and theatre professionals along with the visual artists. “This Biennale is intended as a dialogue between multiple perspectives and possibilities as it evolves within the space and through the duration of the Biennale and beyond,” begins Sudarshan.
The walk begins with the mural paintings by P.K. Sadanandan, a Malayali artist, who uses colours made from natural ingredients. Sandanandan and his aides are involved in painting the intricate pictures drawn on the wall. The stones he has ground to create natural colours are also displayed to give visitors a better understanding of the traditional style of mural painting. Sadanandan’s work is an instance of the few works that are ongoing. It will continue through the biennale, giving an opportunity for the visitors to closely observe the evolution of art.
Next to Sadanandan’s work, is an installation by Delhi-based Anamika Haskar. Her ‘Composition on Water,’ an improvisational installation, deals with memories of oppression. A rural life set is erected in the room where actors act and talk about water. “This performance installation uses texts by Dalit writers like Namdeo Dhasal’s ‘Water’ and the actors will experiment with audience interaction each time they perform,” says the curator.
A must mention are the photographs by Gauri Gill, titled ‘Traces’, that depict unpolished stones and old bricks piled by hand in the sands of the Barmer and Bikaner districts of Rajasthan. “Each of them tell a story,” explains Sudarshan. ‘Mythological Paradigm Prophesied’, a lithography exhibition by Subrat Kumar Behera from Odisha was another attraction.
Demond Lazaro’s ‘Family Portraits’, an installation with hanging cloth, small paintings, video and icon, takes cues from the artist’s personal archive and public record to form the basis of the work. The dimly-lit room has long transparent clothes hanging from the roof with paintings and icons inscribed on them.
The Biennale has also seen artworks inviting people’s participation. Latvian artist Voldemars Johanson’s work has changed the horn sounds of a few autorickshaws in Fort Kochi, making them ‘Arto Rickshaws’ and ambassadors of the biennale!
Argentine writer Sergio Chejfec’s work is spread over the Aspinwall. “He is writing an 88-chapter novel on the walls, which will continue through the biennale,” says Sudarshan.
Switzerland’s Bob Gramsma’s site-specific sculpture in the courtyard of Aspinwall, is an extensive opening on earth, with a concrete cast made to produce an inverted sculptural reproduction. “Through this, he flips open history, bringing it to the present.”
The visit concluded with the installation by Raul Zurita, a Chilean poet. ‘Into the sea of pain’, it poses certain questions, and asks the audience to read them wading through the water. ‘Don’t you see me? In the sea of pain?’ reads one question. And, one would feel one walking through the sea of pain while reading it. A lot of artistic wonders await viewers in Aspinwall and other venues. All you have to do is just walk in!
