We need spaces like Santiniketan to create inspirational atmosphere for art: Bose Krishnamachari
Lokame Tharavadu, the biggest contemporary art survey exhibition in India in 2021, is coming to a close today. With the participation of 267 artists cutting across generations and also many art events organised parallel to it, this mammoth show organised by Kochi Biennale Foundation was a game changer. In this exclusive interview given to P Sudhakaran, the show’s curator and world-renowned artist Bose Krishnamachari, who conceptualized the exhibition, says that we should have more spaces to organise art shows to bring it closer to people.
PS: What was the inspiration behind this show?
Bose: In the wake of the lockdown following Covid-19, which also forced the people behind Kochi Biennale Foundation to drop the 2020 edition of Kochi-Muziris Biennale, they explored as to what could be done. Already various programmes are on under the aegis of the foundation, including Students’ Biennale, Learning at Home and Art by Children (ABC). Also, we held a series of workshops for parents and kids together. This included people cutting across continents and the aim was to teach art to children with their parents. But all these activities are happening online, and we thought of something physical, because we felt physical presence is a must in visual art. As we brainstormed, we felt we should think locally. When it comes to the biennale, the maximum we could provide is ten percent representation to Malayalis. So, the question was how to give more representation to the Malayali artists. Meanwhile, Dr. Thomas Isaac, who was then the finance minister, evinced interest in organizing an exhibition of local artists here.
Then Muziris Heritage Project architect Benny Kuriakose suggested me to come and see the museums that they are developing. Thus in October 2020, I came and visited the place and also saw a few buildings. But these buildings didn’t have walls, they were open spaces. In order to conduct an exhibition, we have to convert these halls into exhibition spaces.
Thus we created false walls and converted them to exhibition spaces. We created around 1.5 lakh square feet false walls, and in terms of magnitude this is probably the biggest such exhibition in India.
Rather than the magnitude, the experience I had while organizing this show is more important. While travelling from Kannur to Thiruvananthapuram as part of this show, I interacted with many artists of different generations. Some of them are well known while others are totally unknown. I saw the way they work, and many of them have no space to work, leave alone a studio. Some of them painted stretching their canvas on the kitchen table, and rolled the works under their cot, which is an unfortunate situation. There are people like Kozhikode native Santha KV, who manages time for art from her small-time occupation of rearing poultry. There is a diversity here, which makes this show unique.
Then Muziris Heritage Project architect Benny Kuriakose suggested me to come and see the museums that they are developing. Thus in October 2020, I came and visited the place and also saw a few buildings. But these buildings didn’t have walls, they were open spaces. In order to conduct an exhibition, we have to convert these halls into exhibition spaces.
Thus we created false walls and converted them to exhibition spaces. We created around 1.5 lakh square feet false walls, and in terms of magnitude this is probably the biggest such exhibition in India.
Rather than the magnitude, the experience I had while organizing this show is more important. While travelling from Kannur to Thiruvananthapuram as part of this show, I interacted with many artists of different generations. Some of them are well known while others are totally unknown. I saw the way they work, and many of them have no space to work, leave alone a studio. Some of them painted stretching their canvas on the kitchen table, and rolled the works under their cot, which is an unfortunate situation. There are people like Kozhikode native Santha KV, who manages time for art from her small-time occupation of rearing poultry. There is a diversity here, which makes this show unique.
PS: What about the name?
Bose: This name Lokame Tharavadu has great relevance here, because it reflects the core idea of this exhibition - the world is one family. The title is drawn from the verses of a Malayalam poem written by legendary poet Vallathol Narayana Menon, which appeals to the universal spirit of humanity, especially in these times of the pandemic. However, here it also has a secular connotation, because we are passing through a time when the secular ideals are facing threat, and in India people feel insecure, especially in terms of religious matters. Hence it becomes the responsibility of the artists to create secular space and assert that the entire world is one family, irrespective of caste, creed or colour. Moreover, the Malayali community is present all over the world, and here in this show also, majority of the artists are from outside Kerala, including other countries. While conceiving such a show, my idea was that it should transcend the geographical boundaries and linguistic barriers.
As part of inviting the works for this show, I printed the pamphlet in 38 languages and sent it to the artists. What I suggested was that they should consider this a semi solo show so that a wide range of their works could be exhibited.
PS: The same variety can be seen in the works of art as well…
Bose: Yes, in this show, we can see works that are done in different styles and mediums. Here there are people from different walks of life and different geographies. This diversity is something unique about this show, and we can see examples of different art styles and movements – Conceptual Art, Abstract Art, Arte Povera, Surrealism, Abstract Expressionism, Minimalism, and so on. Sometimes the artists may not claim these works belong to any particular school, but I felt, as a curator and artist, that these are amazing examples of different styles. You can see that the entire family of Valsan Kolleri belongs to Arte Povera. This way you can find the best examples of different art movements here.
Bose: This name Lokame Tharavadu has great relevance here, because it reflects the core idea of this exhibition - the world is one family. The title is drawn from the verses of a Malayalam poem written by legendary poet Vallathol Narayana Menon, which appeals to the universal spirit of humanity, especially in these times of the pandemic. However, here it also has a secular connotation, because we are passing through a time when the secular ideals are facing threat, and in India people feel insecure, especially in terms of religious matters. Hence it becomes the responsibility of the artists to create secular space and assert that the entire world is one family, irrespective of caste, creed or colour. Moreover, the Malayali community is present all over the world, and here in this show also, majority of the artists are from outside Kerala, including other countries. While conceiving such a show, my idea was that it should transcend the geographical boundaries and linguistic barriers.
As part of inviting the works for this show, I printed the pamphlet in 38 languages and sent it to the artists. What I suggested was that they should consider this a semi solo show so that a wide range of their works could be exhibited.
PS: The same variety can be seen in the works of art as well…
Bose: Yes, in this show, we can see works that are done in different styles and mediums. Here there are people from different walks of life and different geographies. This diversity is something unique about this show, and we can see examples of different art styles and movements – Conceptual Art, Abstract Art, Arte Povera, Surrealism, Abstract Expressionism, Minimalism, and so on. Sometimes the artists may not claim these works belong to any particular school, but I felt, as a curator and artist, that these are amazing examples of different styles. You can see that the entire family of Valsan Kolleri belongs to Arte Povera. This way you can find the best examples of different art movements here.
PS: In a way there is a representation of the contemporary art history and art movements here, using the works of Malayali artists…
Bose: Definitely. You can see all styles here. However, some works we had to send back to the respective artists after some time and also we had to close the show in Durbar Hall, as the show had a delayed start and it got extended. In the case of artists like A Ramachandran, we need weather controlled space and also the insurance period was over. So we had to give it back to the artist though we extend it by a few months.
PS: This reminds one thing. We all know that Kerala has a huge representation in the ‘who is who’ of contemporary Indian art. But quite often their works are not exhibited in Kerala and serious art happenings of the magnitude of this show are also minimal. Of course, the shows like ‘Double Enders’, you curated in 2005, were widely discussed outside Kerala. Similarly now the biennale has revolutionized the art scene here. However, even now there is something lacking in Kerala’s art scene. What according to you are the problems that the art scene in Kerala faces today?
Bose: What is important is that we need people who are experts in museology, curation and place making. What we did here is that we created excellent gallery spaces using the existing facilities. But we need weather-controlled spaces. Some art works need weather-controlled, safe places for exhibition. Hence we should have more exhibition places in Kerala, like Durbar Hall in Kochi, which is a fantastic exhibition place. If we have such weather-controlled high roofed spaces, we can exhibit the works of all kinds of masters. If we have spaces, we can professionally develop it. What we did here for Lokame Tharavadu is that we crated falls walls. We should arrange curatorial spaces with flexibility as we did here, and, in my opinion, all exhibitions should be curated. Earlier most of the shows were not curated in most parts of the country but things are slowly changing now. After Durbal Hall was renovated, we were able to do many good shows like that of A Ramachandran and K G Subramanyan.
PS: Even the CSR funds are not properly utilized for promotion of art, it seems.
Bose: Yes, it is a fact that many organizations are not properly utilizing their CSR fund. Most of them use the fund for education, and there again they make profit. Ironically those people also had not accepted art as part of education. It was quite recently that they considered art as part of CSR, but it is yet to happen in full-fledged manner. If art spaces are created it would naturally bring people closer to art. You know, aesthetics cannot be taught. It has to be cultivated through experiences like visiting places.
PS: There should be a change in our pedagogic approach too…
Bose: We need learning of life. Children should be taken to museums. This way art becomes part of their life. We should create art rooms in schools. Kochi Biennale Foundation has done some initiatives in this regard. What we have to tell the new generation through our education is that art, design and science are not separate. They are integrated.
PS: I think we have to promote such investments in art to promote tourism and revenue generation.
Bose: We need learning of life. Children should be taken to museums. This way art becomes part of their life. We should create art rooms in schools. Kochi Biennale Foundation has done some initiatives in this regard. What we have to tell the new generation through our education is that art, design and science are not separate. They are integrated.
Bose: Yes. Mr Thomas Isaac was one among such people who realized this. There is an interesting study as to how Museum Bilbao in Spain increased the tourist footfall and strengthened the cultural tourism in that small town, thus improving its economy. There is a study called Bilbao Effect, which says how we get the money back once we invest in such projects. We need policy makers who understand the economic impact of cultural investment. Also, we need local governments that know the importance of culture.
Similarly, our attitude has to change a lot. For example, instead of gifting trophies and mementoes to people why can’t we present a work of art or a book? This way, we can promote art and also bring it closer to people.
Similarly, our attitude has to change a lot. For example, instead of gifting trophies and mementoes to people why can’t we present a work of art or a book? This way, we can promote art and also bring it closer to people.
PS: Kochi Biennale Foundation has developed the art infrastructure in Ernakulam where the biennale is organised. Alappuzha is a place where there is no such tradition of contemporary art, but the show Lokame Tharavadu attracted thousands of people to this place. What about the possibility of extending the venue of the biennale to Alappuzha as well?
Bose: That is a possibility. There are many tourist attractions here and if the show is extended to Alappuzha, it will improve the tourist footfall thus strengthening the economic side. Since Alappuzha has many tourist spots and also beaches and backwaters, if we introduce art exhibitions here, it would definitely bring a positive result thus benefitting people. What differentiates our biennale from other biennales is the people’s participation. Throughout the show, hundreds of people are visiting it every day. In many places the crowd is there only for a few days, but here the local participation is high.
PS: At the same time, I think we need to develop a museum culture and promote interactions in art….
Bose: Yes, I agree, we need museums here, as they are important. But what is even more important is that we need more spaces for conversation. We need good gardens all around to promote conversations. Or in other words, I would say we need places like Santiniketan all around. If life is open 24x7, it will be more beautiful for sure and it will promote conversation. Such interactions would definitely strengthen our art scene too. In order to develop places like this, various departments have to be connected and integrated. They should have a holistic approach to develop places to achieve this goal.
Bose: That is a possibility. There are many tourist attractions here and if the show is extended to Alappuzha, it will improve the tourist footfall thus strengthening the economic side. Since Alappuzha has many tourist spots and also beaches and backwaters, if we introduce art exhibitions here, it would definitely bring a positive result thus benefitting people. What differentiates our biennale from other biennales is the people’s participation. Throughout the show, hundreds of people are visiting it every day. In many places the crowd is there only for a few days, but here the local participation is high.
PS: At the same time, I think we need to develop a museum culture and promote interactions in art….
Bose: Yes, I agree, we need museums here, as they are important. But what is even more important is that we need more spaces for conversation. We need good gardens all around to promote conversations. Or in other words, I would say we need places like Santiniketan all around. If life is open 24x7, it will be more beautiful for sure and it will promote conversation. Such interactions would definitely strengthen our art scene too. In order to develop places like this, various departments have to be connected and integrated. They should have a holistic approach to develop places to achieve this goal.
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