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Writer N.S. Madhavan : “We had the triennale till about mid-1990s organised by the Lalit Kala Akademi. As someone with a personal experience of seeing the Venice Biennale, the oldest of them all, I think a biennale celebrates a whole place. Its beauty lies in the fact that while the installations put up for the show celebrate the space they occupy, the location blends into the work of art. The event is not just significant for Kerala, it holds much greater relevance for Indian art in general.”

Auteur Adoor Gopalakrishnan , who curates the feature film segment of the Kochi-Muziris Biennale: “It is a major happening in this part of the world and it provides great exposure to Indian artists on a scale as grand as the Venice Biennale. Its critics are those who haven’t understood the concept. While a certain degree of criticism helps you exercise caution, the detractors of the biennale have gone overboard, making it torturous as they made a fuss over the way Rs.5 crore was spent by the biennale organisers. And who on earth said that it doesn’t support local artists?”

Writer Sethu: “I saw KCS Panicker’s words and symbols series first at the Indian Triennale in 1968 and came under its influence. It must have inspired my writing at least for a few years. So I’m excited as a writer that Kochi-Muziris Biennale is happening.”

Percussion maestro Mattannur Sankarankutty , who will lead a triple Thayampaka as part of the biennale: “I will take time off to go around the venues and see for myself the works of art on display.”

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