NEWS & UPDATES
An essential part of Kochi-Muziris Biennale is a wide range of ancillary programming, from talks, seminars, to film screenings, and music performances. Kochi Biennale Foundation is proud to announce the opening week programme for the fourth edition of Kochi-Muziris...
Kochi Biennale Foundation is proud to announce a full list of participating student-artists for the third edition of Students’ Biennale. The list of participants and their institutions is available here. They will soon travel to Kochi to install their work...
4 pm, Saturday, 3rd November Pepper House, Fort Kochi Vicky Roy is a participating artist in the Kochi-Muziris Biennale 2018. Please join us for an evening of discussion, where he will discuss his practice and more recent works. All are welcome. Originally from West...
Kochi Biennale Foundation announces ARK (Art Rises for Kerala) in collaboration with SaffronArt, a live auction of modern and contemporary art that will be held on January 18, 2019, in Kochi. With great generosity, over 40 Indian and international artists will...
Production is in full swing as we gear up for the fourth edition of the Kochi-Muziris Biennale. The 2018 edition is curated by Anita Dube, and features an exhibition, pavilion, and an ancillary programme of talks, workshops, film screenings, and music. See you in Kochi!
We mourn the loss of Anoop Skaria, a friend of the Foundation and an important contributor to the cultural life of Kochi. Anoop, along with his wife Dorrie, founded Kashi Art Cafe in Fort Kochi, a space that supported many local and other artists in their careers....
Akram Zaatari (b. 1966 in Sidon, Lebanon) is a filmmaker, photographer, archival artist and curator. He has played a critical role in developing the intellectual, and institutional infrastructure of Beirut's contemporary art scene. As a co-founder of the Arab Image Foundation, a groundbreaking, artist-driven organization devoted to the research and study of photography in the Arab world, he has made invaluable contributions to the wider discourse on archival practice. As one of the young artists who emerged from the short-lived era of experimentation in Lebanon's television industry, Akram Zaatari has produced more than fifty films, videos, a dozen books, and countless installations of photographic material. All these works share an interest in histories related to excavation, political resistance, civil war and the play of letters that have been lost, found, buried, discovered, or otherwise delayed in reaching their destinations. He lives and works in Beirut, Lebanon.
Akram Zaatari has been exploring issues pertinent to post-war Lebanon. He investigates the way television mediates territorial conflicts and wars, and is particularly interested in logic of religious and national resistance movements, and the circulation and production of images in the context of today's geographic division in the Middle East. Akram Zaatari had been selected to represent Lebanon at the 2013 Venice Biennale by Sam Bardaouil and Till Fellrath, curators for the Lebanese Pavilion. His work has been widely exhibited worldwide in Biennales and venues such as the Centre Pompidou.
Anoli Perera (b.1962, Colombo) took a degree in Political Science, Economics and Sociology at the University of Colombo, Sri Lanka followed by a Postgraduate Diploma in International Affairs. She then lived in the USA between 1988 and 1992 where she followed the 'Continuing Art Education Programmes’ at Santa Barbara City College, California and the Visual Art School of Princeton, New Jersey. Her work reflects certain social and political issues relevant to her context. Her work has revolved around the subjects of domesticity, body, memory, history, post coloniality and urbanity. Her recent works deliberate on the erasure of personal and public memory and the anxiety of forgetting. She currently works as a painter, sculptor and installation artist, based in Sri Lanka and New Delhi.
Anoli Perera is a co-founder and a director of the Theertha International Artists Collective, a contemporary arts initiative in Colombo, Sri Lanka.
Her works have been exhibited in the Colombo Art Biennale in 2014, 2012 and 2009; Artful Resistance at Museum der Weltkulturen, Frankfurt, Germany, (2010) and Museum of Anthropology Vienna, Austria (2009); Separating Myth from Reality (Art Festival), Siddhartha Gallery, Katmandu, Nepal (2009) amongst others.
She received the Bunka Award in 1999, and the Young Artist of the Year, Young Contemporaries Exhibition, National Art Gallery, Colombo, Sri Lanka in 1992.
Arunkumar HG (b. 1968, Karnataka) was brought up within a farming family in the Western Ghats. He studied at the Faculty of Fine Arts, Maharaja Sayajirao University of Baroda, and went on to work in the toy industry in the metropolitan cities of Delhi and Gurugram. Caught between contradictory landscapes, the artist attempts to address this tension through his practice. He maps the complex relationship between ecological issues and the wasteful urban industrial mode of thinking and living. In 2014, he set up the 'Centre for Knowledge and Environment' in his hometown under the organisation SARA (Sustainable Alternatives for Rural Accord), to share and learn from local and global sustainable life practices.
Arunkumar's solo shows include: In-site, Aicon Gallery New York (2018); Seed of Reckoning Mumbai Art Room, Mumbai (2012); Tract, Nature Morte, New Delhi (2010); Feed, Nature Morte, New Delhi, Sakshi Gallery, Mumbai (2006).
He has also participated in numerous group exhibitions in India and abroad, most importantly: 'Embrace Our Rivers' Goethe-Institute / Max Mueller Bhavan, Chennai (2018); Sculpture by The Sea, Sculpture Biennial Aarhus Denmark (2015); The Eye and The Mind: New Interventions in Contemporary Indian Art, Festival of India, China (2015), sponsored by the National Gallery of Modern Art; Beyond Limits, San Diego Art Institute, San Diego (2014); Aesthetic Bind Citizen Artist: Forms of Address, Chemould, Mumbai (2013); Crossing Space, Kunsthalle Faust, Hannover, Germany (2013); Art and Activism in India Since 1989, The SAHMAT Collective, Smart Museum of Art, The University of Chicago (2013); Zones of Contact, Kiran Nadar Museum of Art, Noida, India (2013); Cosmopolitan Stranger, Open University of Diversity, Hasselt, Belgium (2012).
Anju Dodiya (b. 1964, Mumbai) graduated from the JJ School of Art in 1986, refining her talent with watercolors while still a student there. On her practice, she remarks: "I often find myself on the edge between the inner and the outer world. Fingers clutching a pencil, toes gripping the precipice, I cling on. I find the abyssal theatre within desperate minds riveting. My images seek to tie a knot between the suffered moment and the creative release. The process goes back and forth between distress and calm, with the occasional apocalyptic gong."
Dodiya's work is represented in several private and public collections in India and abroad, including the National Gallery of Modern Art, New Delhi, Mumbai; Jehangir Nicholson Art Foundation, Mumbai; Kiran Nadar Museum of Art, New Delhi; Devi Art Foundation, Gurgaon; Burger Collection, Hong Kong; RPG Enterprises, Mumbai; TAPI Collection of Shilpa and Praful Shah, India; the Art Institute of Chicago.
Anju Dodiya (Born 1964, Mumbai) has had 18 solo shows in India and abroad, which include the site-specific installation, ‘Throne of Frost’ at the Lukshmi Villas Palace, Baroda, 2007; ‘Room for Erasures’, Chemould Prescott Road, Mumbai, 2012; ‘Imagined Immortals’, Vadehra Art Gallery, New Delhi, 2014; ‘How to be Brave (in Pictures)’, Galerie Daniel Templon, Paris, 2016 and 'The Air is a Mill of Hooks', Bikaner House, New Delhi, 2018.
ANNU PALAKUNNATHU MATTHEW
Matthew's recent exhibitions include solo shows at the Royal Ontario Museum, Nuit Blanche Toronto, and sepiaEYE, New York. Matthew has also exhibited her work at the RISD Museum, MFA Boston, MFA Houston, San Jose Museum of Art, Portland Museum of Art (OR), Bhau Daji Lad Museum (Mumbai,) Asia Society (NYC & TX,) Victoria & Albert Museum (London), Bikaner House (New Delhi,) Fotofest Biennial (TX,) Guangzhou Photo Biennial (China,) as well as the Smithsonian Institution.
Annu Palakunnathu Matthew is Professor of Art at the University of Rhode Island and the Director of the URI Center for the Humanities. Matthew is represented by sepiaEYE, NYC and Tasveer, India.
Araya Rasdjarmrearnsook (b. 1957 in Trad, Thailand) works predominantly with film and video. Her work references traditions of village storytelling, creating continuities between the present and the past, the everyday world and the world of spirits and legends. Her videos have a meditative, ritualistic quality, and, like many of humanity’s important rituals, they are often centered on the idea of communication between different realms: between the living and the dead, the insane and “normal” people, humans and animals, the worlds of art and “real life.” She currently lives and works in Chiang Mai, Thailand.
Her recent solo exhibitions include Jaonua: The Nothingness and Sanook Dee Museum, Tyler Rollins Fine Art, New York, USA (2017), an artist is trying to return to ‘being a writer’, 100Tonson Gallery, Bangkok, Thailand (2017)
2016; Selfhood’s Garden, Gimpel Fils, London, UK (2016); Araya Rasdjarmrearnsook, Sculpture Center, New York (2015); Niranam, Tyler Rollins Fine Arts, New York (2015); Niranam/The Nameless, Kyoto Art Center, Kyoto (2015).
She has participated in numerous group exhibitions, recent ones including Decoration never dies, anyway, Teien Museum,Tokyo (2018), Das Letste Bild, Stadtgalerie Saarbrücken, Germany (2018); Sunshower, Contemporary Art from Southeast Asia 1980s To Now, Tokyo, Japan (2017); PyeongChang Biennale, Korea (2017); Singapore Biennale (2016), Singapore Art Museum (2016); SEA+Triennale, National Gallery of Indonesia, Jakarta, Indonesia (2016).
Bapi Das lives and works in Kolkata, India, the city of his birth. He specialises in small-scale, detailed embroidery works, which are often reflections of Kolkata's urban landscape, shaped by his own life experiences. Das has practiced art alongside driving an auto-rickshaw for much of his adult life.
Das has been part of Kolkata's Academy of Fine Art's annual exhibition in 2016 and 2017. He was also part of a group show by Whitefield Art Collective in Bengaluru in 2016. He first exhibited his work in 2014 at Harrington Street Arts Center, Kolkata, in a show entitled Lost in Transition: The Forgotten Art of Letter-Writing.
Bracha L. Ettinger (b. 1948, Tel Aviv, Israel) is a prominent artist-painter and influential artist-theorist, philosopher and psychoanalyst, whose pioneering work has emerged in the late 1980s and the 1990s and caused major transformations in the fields of contemporary European painting as well as in critical studies, art theory and feminism. Based in Paris and Tel Aviv, her art, both abstract and symbolic, is a research of color as light and of archival traces which engage with historical and personal memory in relation to war, trauma, human encounter-events, witnessing and the feminine, rearticulating beauty with compassion-beyond-empathy as abstraction, and the passage from aesthetics to ethics in art.
Professor at the EGS (Switzerland), Bracha is one of the world’s leading theorists in the realm of the sexual difference and French feminism, who developed a series of concepts for rethinking the Unconscious and art, including the matrixial time, borderspace, borderlinking, borderspacing, co-poiesis, the matrixial gaze, wit(h)nessing, metramorphosis and the Subreal, which led to a new understanding of both the feminine body-psyche and the human subject.
Bracha's solo-shows include: "Pieta - Eurydice - Meduas", UB Anderson Gallery, Buffalo, (2018); Silesian Museum (Muzeum Śląskie), Katowice (2017); "Eurydice - Medusa" in the 14th Istanbul Biennial (2015). Museum of the City of St. Petersburg (2013). Musee des Beaux-Arts d'Angers (2011). Alma Matrix (dual) at Fundació Antoni Tàpies, Barcelona (2010). Freud Museum, London (2009). Finnish Academy of Fine Arts, Helsinki (2009). Kiasma, Helsinki (2006). Drawing Center, New York (2001). Her recent group exhibitions include Colori, GAM, Turin (2017); The Image of War. Bonnier Konsthall, Stockholm, (2017); Ontmoetingen. MAS/KMSKA, Antwerpen; The Haunted House - The Human Condition, Ekaterina Institute, Moscow.
Ettinger is author of numerous articles and few books including Regard et Espace-de-bord matrixiels, 1999; The Matrixial Borderspace (essays from 1994-1999), 2006. A reader of her essays in two volumes is currently edited by G. Pollock.
B V SURESH
B V Suresh (b. 1960 in Bangalore, India) studied painting at Ken School of Art in Bangalore (1978) and completed his diploma and post-diploma at the Faculty of Fine Arts, Maharaja Sayaji Rao University, Baroda, in 1985. He later went on to do an MA in painting at the Royal College of Art, London, on an Inlaks Scholarship where he studied under Peter De Francia and Ken Kiff (1987). As an art teacher and a practicing artist, he is continuously negotiating the visual fields of the contemporary – that includes everything, from art practice to our immediate surroundings. His works combine videos, installations, paintings and digital prints through which he explores distinct themes and employs certain narrative strategies in the process. In his recent works, Suresh gestures towards spaces where the private and the public seem to fold into each other while staging diverse violence.
His recent solo exhibitions include Khamoshi ki Dastaan / Chronicles of Silence in Vadehra Art Gallery, New Delhi and Sumukha Gallery, Bangalore in 2016. Earlier solo exhibitions have been held at Vadehra Art Gallery (2006), Gallery Chemould, Mumbai (1998) among others.
His artistic life extends beyond studio practice into teaching, theatre design and children’s book illustration. BV Suresh taught between 1992 and 2017 at the Painting Department, Faculty of Fine Arts, M.S. University of Baroda and is presently faculty at the Fine Arts Department, S.N. School of Arts and Communication, University of Hyderabad. He has also been visiting faculty at Ambedkar University Delhi and CAVA, Mysore.
Barthélémy Toguo was born in 1967 in Cameroon and lives between Paris and Bandjoun. He trained at the École Nationale Supérieure des Beaux-Arts in Abidjan, Ivory Coast; the École Supérieure d'Art in Grenoble, France; and the Kunstakademie, Düsseldorf, Germany. He founded Bandjoun Station, a centre for artistic exchange between local and international artists featuring residencies, an exhibition space, a library and plantations in Bandjoun, Cameroon, in 2007.
Solo shows have taken place at institutions including the Parish Art Museum, New York; Uppsala Art Museum, Sweden; Musée d'art contemporain de Sainte Etiennne, France; La Verrière by Hermès, Brussels, Belgium; Fundaçao Gulbenkian, Lisbon; and Palais de Tokyo, Paris. Notable group shows includethe 7th Echigo-Tsumari Art Triennale, Japan (2018); Homo Planta at Fondation Blachère (2018); The Red Hour, the 13th Dakar Biennale (2018); Art/ Afrique, le nouvel atelier at Fondation Louis Vuitton (2017); All The World's Futures at the Venice Biennale (2015); Body Language at the Studio Museum in Harlem, New York (2013); La Triennale: Intense Proximity, Palais de Tokyo, Paris (2012); the 11th Havana Biennial (2012); A terrible beauty is born, 11th Biennale de Lyon, France; the 18th Sydney Biennale (2011); and Laughing in a Foreign Language, Hayward Gallery, London (2008).
In 2011, Toguo was made a Knight of the Order of Arts and Literature in France. He was shortlisted for the Prix Marcel Duchamp in 2016.
Brook Andrew is an interdisciplinary artist who examines dominant narratives, often relating to colonialism and modernist histories. Through museum and archival interventions, he aims to offer alternate versions of forgotten histories; illustrating different means for interpreting history in the world today. Apart from drawing inspiration from vernacular objects and the archive he travels internationally to work with communities and various private and public collections to tease out new interpretations.
Most recently Brook presented What’s Left Behind, a new commission for SUPERPOSITION: Art of Equilibrium and Engagement at the 21st Biennale of Sydney. In 2017 he created an intervention into the collection of the Musée d'ethnographie de Genève, Switzerland; presented Ahy-kon-uh-klas-tik, an interrogation of the Van Abbemuseum archives in The Netherlands; undertook a Smithsonian Artist Research Fellowship, with the Smithsonian Institute, USA; and The Right to Offend is Sacred opened at the National Gallery of Victoria, a 25-year reflection on his practice.
Across 2016–18 Brook completed an international comparative three-year Federal Government Australian Research Council project titled Representation, Remembrance and the Memorial which responded to the repeated high-level calls for a national memorial to Aboriginal loss and the frontier wars: www.rr.memorial. Brook has recently been appointed as Artistic Director of the 22nd Biennale of Sydney for 2020.
Brook Andrew is represented by Tolarno Galleries Melbourne; Roslyn Oxley9 Gallery, Sydney; and Galerie Nathalie Obadia, Paris and Brussels.
Image Credit: Trent Walter
Chitra Ganesh (b. 1975, New York, USA) holds a BA from Brown University in Comparative Literature and Art Semiotics, a Masters in Fine Arts from Columbia University and attended the Skowhegan School for Painting and Sculpture. Her drawing based practice brings to light narrative representations of femininity, sexuality, and power typically absent from canons of literature and art. Her installations, comics, animations, and mixed media works on paper often take historical and mythic texts as inspiration and points of departure to complicate received ideas of iconic female forms. Ganesh’s studies in literature, semiotics, and social theory have been critical to a steady engagement with narrative and deconstruction that animates her work. She lives and works in Brooklyn, NY.
Her work as been has been widely exhibited in the United States and internationally at venues including the Walker Art Center, Minneapolis, MN; the Asia Society, New York, NY; Queens Museum of Art, NY; the Baltimore Museum of Art, MD; Philadelphia Museum of Art, PA; Berkeley Art Museum, CA, San Jose Museum, CA; ZKM Center for Art and Media, Karlsruhe, Germany; Fondazione Sandretto re Rebaudengo, Turin, Italy; the Saatchi Museum, London, United Kingdom; Museum of Contemporary Art, Shanghai, China; Gwangju Contemporary Arts Centre, Gwangju, Korea; National Museum for the Arts, Taiwan; Kunstverein, Göttingen, Germany; Kunstalle Exnergrasse, Vienna; the Prince of Wales Museum, Mumbai; Instituto Valenciano de Arte Moderno, Spain; and most recently the Bhau Daji Lad Museum, Mumbai. She has had solo presentations at PS 1/MOMA, Brooklyn Museum, Goteborgs Konsthalle, Andy Warhol Museum, and Rubin Museum.
Image Credit: Svati Shah
Cyrus Kabiru was born in 1984 in Nairobi, Kenya, where he currently lives and works. Kabiru has received notable awards and has presented numerous international talks, which include: Re-Visioning Africa Through the Creative Lens with Cyrus Kabiru, at the Smithsonian National Museum of African Art (Washington, USA: 2018); Quartz’s Africa Innovators (Nairobi, Kenya:2016) and TED’s The Young, The Gifted, The Undiscovered (Los Angeles, USA: 2013). That same year, Kabiru exhibited at the Lagos Photo Festival (Lagos, Nigeria: 2013). His work also formed part of Afrofuture: Adventure with Makers, Thinkers and Dreamers (Milan Design Week, Italy: 2013), as well as The Shadows Took Shape (The Studio Museum in Harlem, New York, USA: 2013).
Selected group exhibitions include: Making Africa – A Continent of Contemporary Design, curated by Amelie Klein with Okwui Enwezor, a travelling exhibition at the Blanton Museum of Art(Austin, USA: 2018) and Albuquerque Museum (New Mexico, USA:2018), The Guggenheim Museum (Bilbao, Spain: 2016) and the Centre de Cultura Contemporània de Barcelona (Barcelona, Spain:2016), and the Vitra Design Museum (Weil am Rhein, Germany: 2015); AFRICAN VOICES: Confronting Frontiers of Reality, National Gallery of Zimbabwe (Harare, Zimbabwe: 2017); Brutal Beauty: Violence and Contemporary Design, Marta Herford Museum for Art, Architecture, Design (Herford, Germany: 2016); Lumières d’Afriques, Théâtre National de Chaillot with the AAD Fund (Paris, France: 2015);AFRICA – Architecture & Identity at the Louisiana Museum (Humlebæk, Denmark: 2015); and The Shadows Took Shape, at The Studio Museum (New York City, USA: 2013).
be included in Making Africa: A Continent of Contemporary Design at the Vitra Design Museum. He has participated in international art fairs such as 1:54 Contemporary Art Fair, London, 2016, and the Jo’burg Art Fair, 2016. Muraguri was also one of the participating artists in the 2014 edition of the KLA Public Art Festival, in Kampala, Uganda and will be the artist in residence at Espaço Luanda Arte, in
Luanda, Angola in 2019.
Domènec is a visual artist based in Mataró (Barcelona). Taking as his point of departure conceptual processes of reflection, Domènec has built up a sculptural and photographic body of work, along with installations and interventions in public space, which takes the architectural project as one of the most productive and complex imaginary constructions of the modern tradition. He has taken part in several projects In Situ and international projects of Public Art in different places like Ireland, Mexico, Belgium, France, Italy, USA, Brazil, Argentine, Finland, Slovenia, Japan, Israel and Palestine.
He is a coeditor of the art magazine Roulotte, a Member of the Board of Directors of Can Xalant. Centre for Creation and Contemporary Thought in Mataró (2005-2012), and Curator, with Dani Montlleó, of “Modernitat Amagada” Project (Casa Capell, Mataró 2013)
His recent solo exhibitions include BKF. Cynegetics and Modernity. ADN Platform, Sant Cugat (2018); Domènec. Not Here, Not Anywhere. MACBA Museu d’Art Contemporani de Barcelona. Barcelona (2018); The Stadium,the Pavilion and the Palace. Mies van der Rohe Pavilion, Barcelona (2018). Recent group exhibitions, amongst others include Memorias del agua. Pasos. Centro de Recursos Medio Ambientales de Cristina Enea, Donostia (2018); How to Live with Memory. Artistic Attitudes towards Architecture and Francoism. MUSAC Museo de Arte Contemporáneo de Castilla y León, León (2018);, Body & Games. Escola Massana, Barcelona (2018).
E B ITSO
E.B. Itso was born in Denmark, and lives and works in Malmo and Copenhagen. His practice often deals with neglected or overlooked spaces in and around the city, and the relationship between the densely populated parts of society and rural areas. He has a special interest in people living off the common grid – people and locations in the periphery and the roads less traveled. By investigating the intersection of primitivism and contemporary culture, E.B. Itso highlights the underworld that exists in any city and country, thus giving the people and places in the corners of society a rare voice. In his works there is a human engagement that transgress registration, a fascination with the mundane and overlooked, and a care for the strange and hidden. In his work there is an implicit social critique - he questions the dominant perception of what formulates a good life and a sustainable society.
Besides urban constructions, E.B. Itso also works within the field of film, photography and public messages, combining these expressions with explorative journeys, far or near.
Goshka Macuga (b. 1967 in Warsaw, Poland). She studied at Central Saint Martins School of Art, and at Goldsmiths, London. Her practice typically applies in-depth historical and archival research to an interest in the evolving relationships among artists, institutions, politics, and communities. Her works investigate how art can be used to voice current concerns, rouse public debate, and inspire social change. Within her images and installations, she unearths associations between different actors (people, objects, and sites) that, in many cases, problematize the ways in which different organizations engage their publics and are shaped by socioeconomic and cultural developments in society. Throughout her career, Macuga’s work has embraced diverse mediums including sculpture, installation, architecture, and design. The content and format for her projects are often determined by the specific institutional contexts in which her work is shown. She lives and works in London, UK.
Recent exhibitions include Intellectual Co-Operation, Neues Museum, Nüremberg, Germany (2018); What Is Enlightenment: 200 Years of the University of Warsaw Library Print Collection, The Museum of Modern Art, Warsaw, Poland (2018); Machines à Penser, Fondazione Prada, Venice (2018); Hello World. Revising a Collection, Hamburger Bahnhof– Museum für Gegenwart, Berlin, Germany (2018) and Like Life: Sculpture, Colour and the Body (1300-Now), The Met Breuer, New York, USA (2018).
Recent Artist Publications include Goshka Macuga: Before the Beginning and After the End, Fondazione Prada, Milan (2016); Goshka Macuga: Exhibit, A, Museum of Contemporary Art Chicago (2012), and The Nature of the Beast, Whitechapel Gallery, London (2010). In 2008 she was among the four nominees for the British Turner Prize.
HASSAN KHAN + ANDEEL
Heri Dono (b. 1960 in Jakarta, Indonesia) is a leading Yogyakarta-based contemporary artist, and the first Indonesian to break into the global art scene during the early 1990s. He is a member of the generation of Indonesian artists that began their careers in the 1980s. Since his early career, he has traveled around the world to exhibit and respond to workshop invitations from various countries.
Dono is well known in the international contemporary arts community for his installation works, many of which were inspired by his experiments with wayang, the complex shadow puppet theater of Java. Wayang performances are comprised of a number of artistic and non-artistic elements: visual arts, singing, music, storytelling, social criticism, humor and for the mythological promotion of a philosophy of life. These components are merged into the artwork’s narrative to give a generic interpretation to which elements of multimedia are added. Coupled with the setting of a wayang performance event, this provides a space for social interactions among the audience. These creative artworks express Dono’s interest in revitalizing arts that are deeply rooted in Indonesian traditions.
Dono is the only contemporary Indonesian artist who has been invited to the Venice Biennial curated exhibition (2003). His awards include the Dutch Prince Claus Award for Culture and Development (1998), the UNESCO Prize (2000), and the Anugerah Adhikarya Rupa (Visual Arts Award) from the Indonesian government (2014). He has participated in more than 300 exhibitions and 33 international biennales including Bangkok Art Biennale (2018), the 50th Venice Biennale in the Arsenale's Zone of Urgency (2003), Guangzhou Triennial (2011); Gwangju Biennale (2006 and 1995); Sharjah Biennial (2005); Taipei Biennial (2004); Venice Biennale (2003); Asia Pacific Triennial (2002 and 1993); Yokohama Triennial (2001); Havana Biennial (2000); Shanghai Biennale (2000); Sydney Biennale (1996); São Paolo Biennial (2004 and 1996).
INES DOUJAK + JOHN BARKER
Jitish Kallat's (b. 1974, Mumbai, India) works over the last two-decades reveal his continued engagement with the ideas of time, sustenance, recursion and historical recall often interlacing the dense cosmopolis and the distant cosmos. His oeuvre traverses varying focal lengths and time-scales. From close details of the skin of a fruit or the brimming shirt-pocket of a passerby, it might expand to register dense people-scapes, or voyage into inter-galactic vistas. While some works meditate on the transient present others invoke the past through citations of momentous historical utterances. Frequently shifting orders of magnitude, Kallat’s works can be said to move interchangeably between meditations on the self, the city-street, the nation and the cosmic horizon, viewing the ephemeral within the context of the perpetual, the everyday in juxtaposition with the historical, the microscopic alongside the telescopic. He lives and works in Mumbai, India.
Jitish Kallat has exhibited widely at museums and institutions including Tate Modern (London), Martin Gorpius Bau (Berlin), Gallery of Modern Art (Brisbane), Kunst Museum (Bern), Serpentine Gallery (London), Mori Art Museum (Tokyo), Palais de Beaux-Arts (Brussels), Hangar Bicocca (Milan), Busan Museum of Modern Art, Astrup Fearnley Museum of Modern Art (Oslo), ZKM Museum (Karlsruhe), Henie Onstad Kunstsenter (Oslo), Arken Museum of Moderne Kunst (Copenhagen), Institut Valencia d’Art Modern (Spain), Mori Art Museum (Tokyo), Art Gallery of Ontario (Toronto), Jean Tinguley Museum (Basel) and the Gemeente Museum (The Hague) amongst many others. Kallat’s work has been part of the Havana Biennale, Gwangju Biennale, Asia Pacific Triennale, Fukuoka Asian Art Triennale, Asian Art Biennale, Curitiba Biennale, Guangzhou Triennale and the Kiev Biennale amongst others.
His solo exhibitions at museums include institutions such as the Art Institute of Chicago, Bhau Daji Lad Museum (Mumbai), the Ian Potter Museum of Art (Melbourne), CSMVS Museum (Mumbai), the San Jose Museum of Art, Art Gallery of New South Wales (Sydney) and the Philadelphia Museum of Art. In 2017 the National Gallery of Modern Art (New Delhi) presented a mid-career survey of his work titled Here After Here 1992-2017 curated by Catherine David.
Jitish Kallat was the curator and artistic director of Kochi-Muziris Biennale 2014.
Dr Julie Gough is an artist, writer and curator based in Hobart. Her research and art practice involves uncovering and re-presenting often conflicting and subsumed histories, many referring to her family's experiences as Tasmanian Aboriginal people. Gough’s mother’s family are Trawlwoolway, Tasmanian Aboriginal people, originally from Tebrikunna in far north east Tasmania, and her paternal heritage is Scottish and Irish. She is currently working as a curator, Indigenous cultures at the Tasmanian Museum and Art Gallery.
Gough, since 1994, has exhibited in more than 130 exhibitions including: Defying Empire, National Gallery of Australia, 2017; THE NATIONAL, MCA, 2017; With Secrecy and Despatch, Campbelltown Arts Centre, 2016; undisclosed, National Gallery of Australia, 2012; Clemenger Award, National Gallery of Victoria, 2010; Biennial of Sydney, 2006; Liverpool Biennial, UK, 2001; Perspecta, AGNSW, 1995. Gough holds a PhD from the University of Tasmania (2001), a Masters degree (Visual Arts) University of London, Goldsmiths College (1998), and Bachelor degrees in Visual Arts, Prehistory and English Literature. Her artwork is held in most Australian state and national gallery collections, and she is represented by Bett Gallery, Hobart.
Image Credit: Lucy Parakhina
Jun Nguyen-Hatsushiba (b. 1968 in Tokyo, Japan) was born to a Japanese mother and a Vietnamese father. He spent his childhood in Japan before moving to the USA to get an education, he now works and lives in Ho Chi Minh City, Vietnam and Houston, USA. His work "Memorial Project" started in 2001 and addressing issues such as boat people and social minorities made his name in the international contemporary art scene. Nguyen-Hatsushiba has exhibited in numerous international triennials and biennials including Venice, Istanbul, Sydney and Yokohama.
His on-going project “Breathing is Free:12,756.3” is an attempt to physically experience world refugee crisis by running the diameter of the earth, 12,756.3 km.
In his recent work from 2013,“The Master and the Slave: Inujima Monogatari” was filmed at Inujima island in Okayama, and the film “Memorial Project Waterfield: The Story of the Stars” was based on a performance piece first shown at the 2006 Gwangju Biennale.
In 2014 his residency and solo show “Don’t we all want to be in tune?” at MAC VAL, Paris, addressed notions of citizenship and the relationships between migrational flux and musical expression. In a new development in the artist's practice, the work evoked the struggles faced by contemporary migrants though the mutual influences of drawing and sound, and also featured interactive elements of audience participation.
Nguyen-Hatsushiba’s solo exhibitions have been organized in musuems around the world, including Kunstmuseum Luzern (Switzerland), Manchester Art Gallery (UK), Malmo Konsthall (Sweden), MACRO, Museo d'Arte Contemporanea Roma (Italy).
Juul Kraijer (b. 1970, The Netherlands) graduated from the Rotterdam Academy of Fine Arts in 1994. Her authentic, consistent oeuvre consists mainly of drawings but also includes sculptures and video-works. In recent years she has embraced photography as an important medium.
Institutions which have hosted solo exhibitions of the artist's work include Huis Marseille Museum for Photography, Amsterdam (2017); Drents Museum, Assen (2015); Kunsthalle Giessen, Germany (2014); Cobra Museum of Modern Art, Amstelveen (2009 and 2004); Gemeentemuseum, The Hague (2006) and Stedelijk Museum, Amsterdam (2001)
Her work has been awarded four Dutch art prizes and has been included in major international exhibitions such as The Third Moscow Biennale of Contemporary Art (2009) and ARS 06 at the Museum of Contemporary Art Kiasma, Helsinki (2006).
K P KRISHNAKUMAR
Madhvi Parekh was born and raised in Sanjaya, a village near Ahmedabad, Gujarat, in 1942. With no formal education, her art evolved from childhood memories, popular folk stories and legends of her village. Art formed a part of her consciousness through the forms of painting that were part of her family’s everyday rituals, such as the traditional floor designs of rangoli. Inspired by her artist-husband Manu Parekh and artists such as Paul Klee and Miro, Madhvi began painting in 1964. Her paintings are unplanned, unfolding like a story where she adapts each work to the scale it demands, developing from a point into vast narratives. She lives and works in New Delhi.
THE OTOLITH GROUP
The Otolith Group was founded in 2002 and consists of Anjalika Sagar and Kodwo Eshun who live and work in London. During their long-standing collaboration The Group have drawn from a wide range of resources and materials. They explore the moving image, the archive, the sonic and the aural within the gallery context. The work is research-based and in particular has focused on the essay film as a form that seeks to look at conditions, events and histories in their most expanded form. The Group have exhibited, installed and screened their works nationally and internationally, they are commissioned to develop and exhibit their art works, their research, installations, and publications by a wide range of museums, public and private galleries, biennials, foundations and other bodies. This work acts as a resource that is documented on this website and supports The Otolith Group’s public platform in its function in the UK under the name of The Otolith Collective. The Otolith Group was nominated for a Turner Prize in 2010.
P R SATHEESH
Pangrok Sulap is an art collective of artists, musicians and social activists with the purpose of empowering rural communities through art. Pangrok Sulap is persistent on the DIY concept hence the slogan 'Jangan Beli, Bikin Sendiri' (Don't Buy, Do-it-yourself). "Pangrok" is the local pronunciation of "punk rock" and “Sulap” is the name of a hut or a resting place usually used by farmers in sabah.
A strong element in Pangrok Sulap’s process is community participation, which apart from making the actual woodcut print, is the performance element where the collective plays original and contemporary folk music while participants are invited to dance in circles on the finished woodcut, using the crowd’s weight to transfer ink onto the finished print, which is then revealed on the spot.
Since Pangrok Sulap’s inception in 2010, the collective has conducted workshops for communities and schools across Malaysia.
In his interventions, Prabhakar Pachpute draws what could be defined as an “epic of labour” and, at the same time, a poetic and imaginative analysis of the transformation of the economy in India and how it is affecting society. Using Maharashtra as a starting point, his work links a complexity of historical transformations that have taken place between the characters of the rural farmer, miner, cotton mill-worker, and landless laborer. Land itself is under transformation, metamorphosing between different states of use and abandonment.
PRIYA RAVISH MEHRA
Priya Ravish Mehra was a Delhi-based textile artist and weaver, researcher and designer. She graduated in Fine Arts (with a specialization in textiles) from Visva-Bharati University, Santiniketan, and later studied tapestry at West Dean College, Sussex and an advanced tapestry course at the Royal College of Arts, London under the aegis of a Commonwealth Fellowship and Charles Wallace Trust (India) Scholarship. She also received an Asian Cultural Council Grant to study the maintenance and preservation of Indian textiles, especially Kashmir shawls, in public and private collections in the US.
Priya’s textile and mixed-media work has been featured as solo exhibitions in British Council, Delhi (1993); Commonwealth Institute, London (1994); Jahangir Art Gallery, Mumbai (1997); Experimental Art Gallery, India Habitat Centre, Delhi (2015); Instituto de Artes Plasticas, Mexico (2016); Gallery Threshold, Delhi (2017) and ‘India International Center, Delhi (2018). She has also participated in group shows: Taumata Art Gallery, Auckland (1993); Rabindra Bhavan, Delhi (1997); British Council, Delhi (1999); 10th International Triennial of Tapestries, Lodz (2001); Rabindra Bhavan, Delhi (2005); ILF Samanvay, India Habitat Centre, Delhi (2016); ‘Evidence Room’, KHOJ, Delhi (2017); C-13, FICA, Delhi (2017); ‘Monsoon Chapter 12’, Art-Centrix, Delhi (2017); ‘Detritus’, Serendipity Art Festival, Goa (2017); and Aicon Gallery, New York (2018).
Shirin Neshat is an Iranian-born artist and filmmaker living in New York. Her work, predominantly in film, video and photography, centres on the varying contrasts between cultures that she inhabits, and the bridges between them.
Artist and writer Shubigi Rao makes layered installations of books, etchings, drawings, pseudo-scientific machines, metaphysical puzzles and video. Her interests include archaeology, neuroscience, libraries, archival systems, histories and lies, literature and violence, ecologies and natural history. She is currently visiting libraries and archives globally for ‘Pulp: A Short Biography of the Banished Book’, a decade-long film, book, and art project about the history of book destruction. She lectures part time in art theory and dissertation writing at LASALLE College of the Arts, Singapore, where she obtained her MFA and BFA.
SUBHASH SINGH VYAM + DURGABAI VYAM
SUNIL GUPTA + CHARAN SINGH
Tejal Shah (b.1979, Bhilai, India) works across diverse media such as video, photography, performance, sound, installation, drawing and educational workshops. Shah is deeply interested in the intersection of queer theory and non-dualist philosophy and to that end, is currently undertaking a MA in Nalanda Buddhist Philosophy. “When all identity categories cease and we understand that everything exists interdependently, how can this lead to an affective shift away from violence and towards love and cooperation? This question is at the core of my work as an artist.”
Shah initiated the artist home residency program, Balcao in Goa 2013-14, participated in the 1st Anthropocene Campus at the Haus of World Cultures, Berlin, 2014 and the Queer Ecologies workshop and residency at Rost AIR, Norway in 2015. Their works have shown widely in museums, galleries, and film festivals around the world. Recent institutional solo exhibitions include – As it is, Mimosa House, London, 2018; Unbecoming, Kunsthaus Hamburg, curated by Chus Martinez, 2017; Some Kind of Nature, Kunsthaus Rhenania, Cologne, 2015 and at the Gujral Foundation, New Delhi, 2014. Major presentations in recent group shows have been held at the Kunstmuseum Wolfsburg, 2018; Office for Contemporary Art, Oslo, 2016-17; Kadist Art Foundation, San Francisco, 2016; Devi Art Foundation, New Delhi, 2016; Whitechapel Gallery, London, 2014; dOCUMENTA 13, Kassel, 2012; Centre Pompidou, Paris, 2011 and Tate Modern, London, 2006, among others.
Thomas Hirschhorn was born in 1957 in Bern (Switzerland). He studied at the Kunstgewerbeschule Zürich from 1978 to 1983 and moved to Paris in 1983, where he has been living since. His work is shown in numerous museums, galleries and exhibitions. With each exhibition in museums, galleries and alternative spaces, or with his works in public space, Thomas Hirschhorn asserts his commitment toward a non-exclusive public.
VEDA THOZHUR KOLLERI
In Veda Thozhur Kolleri’s practice, there is an urge to collect traces while exploring her surrounding environment on foot -to develop very specific associations based on the experience of travelling through it. During her MFA programme at Shiv Nadar University, in Dadri (Uttar Pradesh), she began to work with organic remains in various states of degradation and decay - parts of trees that were shed, soil, dried leaves, cut grass, dead plants, animal bones, quills and hives. While these became the medium with which she worked, she was interested in them through the length of their life. Soil and dried leaves were rearranged to make large-scale drawings or patterns on the ground that wind or rain might settle into, attempting an imitation of wind and rain - knowing full well that she is neither.
Veda Thozhur Kolleri was born in Chennai and has lived between Chennai, Bangalore, Vadodara and Greater Noida. After completing her Bachelor’s in Anthropology and Psychology at St. Xavier’s College, Mumbai, she continued her undergraduate study in Art and Design at Srishti Institute of Art, Design and Technology, Bangalore. She then moved to New Delhi where she worked on digitally archiving the manuscripts, photographs, sketchbooks and letters of B.C Sanyal, painter and founding member of the Delhi Shilpi Chakra. She has just completed her MFA at Shiv Nadar University.
She presented at the Khoj Peers Share Programme in June 2018, and has been selected for the Home Workspace Programme (2018-2019) at Ashkal Alwan in Beirut and will be funded by the Inlaks Shivdasani Foundation for the same.
Vivian Caccuri uses sound as the vehicle to cross experiments in sensory perception with issues related to history and social conditioning. Through objects, installations, and performances, her pieces create situations that disorient everyday experience and, by extension, disrupt meanings and narratives seemingly as ingrained as the cognitive structure itself. Vivian has developed projects in many cities in Brazil and abroad, including the Amazon, Accra, Detroit, Helsinki, Vienna, Veneza, Kiev, Valparaíso and more.
Walid Raad is an artist and Professor of Art in The Cooper Union (New York, USA). Raad’s works include The Atlas Group, a fifteen-year project between 1989 and 2004 about the contemporary history of Lebanon, and the ongoing projects Scratching on Things I Could Disavow and Sweet Talk: Commissions (Beirut). His books include The Truth Will Be Known When The Last Witness Is Dead, My Neck Is Thinner Than A Hair, Let’s Be Honest, The Weather Helped, and Scratching on Things I Could Disavow.
Raad’s works have been shown in The Institute of Contemporary Art/Boston, Museum of Modern Art (New York), Fondazione Volume! (Rome), Museo MADRE (Napoli), Carré d’Art, Musée d’art contemporain (Nîmes), Louvre (Paris), Documenta 11 and 13 (Kassel, Germany), Kunsthalle Zurich (Switzerland), Whitechapel Gallery (London), Festival d’Automne (Paris), Kunsten Festival des Arts (Brussel), The Venice Biennale (Venice), The Hamburger Bahnhof (Berlin), Homeworks (Beirut) and numerous other museums and venues in Europe, the Middle East, and Americas.
His work is also in collections at Kunsthalle Hamburg, Gallery of the Contemporary (Hamburg), FNAC, Center National des Arts Plastiques (Paris), TATE Modern (London), Centre Georges Pompidou (Paris), among others.