OVERVIEWDEC 12 to MAR 12Kochi-Muziris Biennale 2012Biennial
- Emerging Artists
Dates and Opening hoursDEC 12, 2012 to MAR 12, 2013
Kochi-Muziris Biennale 2012
1/1903, Kunnumpuram, Fort Kochi PO, Kerala 682001
Indian and international artists will exhibit artworks across a variety of mediums.
The Kochi-Muziris Biennale seeks to invoke the latent cosmopolitan spirit of the modern metropolis of Kochi and its mythical past, Muziris, and create a platform that will introduce contemporary international visual art theory and practice to India, showcase and debate new Indian and international aesthetics and art experiences and enable a dialogue among artists, curators, and the public.
The Kochi-Muziris Biennale seeks to create a new language of cosmopolitanism and modernity that is rooted in the lived and living experience of this old trading port, which, for more than six centuries, has been a crucible of numerous communal identities. Kochi is among the few cities in India where pre-colonial traditions of cultural pluralism continue to flourish. These traditions pre-date the post-Enlightenment ideas of cultural pluralism, globalisation and multiculturalism. They can be traced to Muziris, the ancient city that was buried under layers of mud and mythology after a massive flood in the 14th century. The site was recently identified and is currently under excavation. It is necessary to explore and, when necessary, retrieve memories of this past, and its present, in the current global context to posit alternatives to political and cultural discourses emanating from the specific histories of Europe and America. A dialogue for a new aesthetics and politics rooted in the Indian experience, but receptive to the winds blowing in from other worlds, is possible.
The Kochi-Muziris Biennale seeks to establish itself as a centre for artistic engagement in India by drawing from the rich tradition of public action and public engagement in Kerala, where Kochi is located. The emergence of Kerala as a distinct political and social project with lessons for many developing societies owes also to aesthetic interventions that have subverted notions of social and cultural hierarchies. These interventions are immanent in the numerous genres and practices of our rich tradition of arts. In a world of competing power structures, it is necessary to balance the interests and independence of artists, art institutions, and the public.
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