‘Museum culture is non-existent here’

In Hyderabad to showcase his work, Bose Krishnamachari, director of the recently-concluded Kochi-Muziris Biennale, bats for continuous engagement with art

March 31, 2015 06:31 pm | Updated 06:31 pm IST - HYDERABAD:

An abstract painting by Bose Krishnamachari, now showcased at Kalakriti art gallery, Trident

An abstract painting by Bose Krishnamachari, now showcased at Kalakriti art gallery, Trident

Bose Krishnamachari has a fascination for colours. His abstracts, Stretched Bodies, have become a hallmark of his works. His ongoing exhibition ‘A life in colours’ at Kalakriti art gallery, Trident, offers viewers a glimpse of his affair with vibrant hues. “When I was studying at Goldsmiths, University of London, I remember one of my tutors telling me that I should go to the extreme in what I am exploring, and bring in the maximum freshness possible to the art,” remembers Krishnamachari.

Till date, the artist tries to make his work look mint fresh, through colours, textures and imagined forms. He doesn’t dwell on a painting more than necessary. “My work is quick. Many a time, my canvas is not mounted on an easel. It maybe spread out on a table and I might be painting as I walk past. If I paint and re-paint taking my own time, the result may not be fresh,” he explains.

Bose Krishnamachari is among the best known contemporary Indian artists today. Apart from his own craft, he has earned credibility and recognition as director of Kochi-Muziris Biennale. The festival, spread over 108 days, with the participation of 94 artists from 30 countries in eight venues in Kerala, has become an event the art fraternity looks forward to.

While art fairs are driven by commerce, biennales serve as an art exchange. The journey had its own challenges, when Krishnamachari and likeminded artists came together in 2010 for the KMB. They had to make the general public understand the term biennale. “We circulated notes in English and Malayalam to educational institutions, auto rickshaw drivers and many others. Now, people in Kerala use terms like installation and curator. It feels good,” he smiles.

The first biennale attracted an estimated 4,00,000 visitors and the second one 5,00,000. The numbers have grown since then. “It’s a proud moment for art. The KMB is one of the widely recognised art events in the world. Initially there was a lot of scepticism,” he says.

The recent edition had well known participants from Hyderabad — Prshant Lahoti with his collection of rare maps and Manohar Chiluveru’s large installation ‘Possible Effects’. These took place as collateral projects.

“A number of artists approach us with good work. When we are unable to accommodate as part of the main event, we help them with contacts and venues for collateral projects, but don’t fund their exhibition. Also, we have art collectors visiting the KMB, but we don’t sell art. This is not a business place,” says Krishnamachari.

The KMB was born when M.A. Baby, then the culture minister of Kerala, visited Krishnamachari at his residence in Borivali, Mumbai, to discuss an art fundraiser. “I told him it’s better to give a cheque than gift a work of art, because very few people remember or get back to us when art is given away. I asked him to meet a few other artists and soon, over dinner, we discussed what can be done for art. Kerala has film, theatre and literary festivals and we thought it would be great to have a biennale with government support,” recalls Krishnamachari.

Everywhere he travelled, nationally and internationally, he observed the functioning of art meets and biennales. “We need to have something to engage common people in art on a continuous basis. For instance, I like the Krishnakriti festival of art and culture that happens in Hyderabad but such festivals are of short duration. The museum culture is non-existent here. When I visit colleges, including Sarojini Naidu School of Arts and Communication in Hyderabad, I talk to students about contemporary art, try to understand what young minds want.”

In 1968, Mulk Raj Anand conceived Triennale-India in 1968 in New Delhi, which ceased to exist after a few years. Krishnamachari mentions how efforts were made to begin a biennale in Delhi in 2005 but it never materialised. Having established a name for the KMB, he wants to explore new possibilities with it. “The ripple effects of the biennale have meant more attention from international artists and galleries. The Pepper House (a heritage property in Fort Kochi) will facilitate international exchange programmes. The biennale showcases all creative forms — cinema to public installations and music to dance. Youngsters are also given opportunities. The Students’ Biennale ran parallel to the KMB,” he points out.

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