Collateral Projects

The Land Re-Formed 2


Artist: Nandakumar P.K

Concept Note: Pazhannur Bhagavati temple that is in the centre courtyard of the Dutch palace has been serving as key establishment for social interactions for last five centuries and it was popular for the free meals that were served daily for the needed. The ruins of the structures that were used as a dining hall and a pond that used for cleaning still exist. With a few friends we initiated a month long cleaning and an exhibition in 2012. This, month-long effort by us in partly restoring the land was an inspiring event for many of the public hence many of them have volunteered in different ways. This highlighted the value of art in bringing a community together and initiating a move to address the issue of preserving culturally and environmentally fragile areas including the water bodies around the temple. This first exhibition was called The Land Re-formed.

The momentum that we got from the support of the public in reclaiming this land that has been forgotten for at least twenty five years opened new possibilities and  we have decided  to take this project further by  renovate the structures and rebuilding  the pond that was used to clean the vessels used in the dining hall.

Venue: Dutch Palace, Mattancherry, Kochi- 682002.

Dates: December 5th onward

Regular workshops:  2nd December – 20th December 2014, from 2:00 pm – 6:00 pm

Contact: +91 9823694901

Artists Through the Lens

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Artist: Manisha Gera Baswani

Concept Note: As I see it, the world knows the artist primarily by his work. However, the intimacy with the work itself grows once the ‘person’ in the artist is known. Somewhere that person ‘becomes’ the artist, ensconced in a private space and immersed in a personal expression.This connect of linking the artist with the person behind the image traversed in the foreground of my mind for several years and finally culminated in this project. Being a trained artist myself with numerous exhibitions to my credit, I decided to pick up the camera, along with my paintbrush, and have, over the past twelve years, delved into photography, linking it closely with the world of art. Making prolific use of the camera, I have captured artists through my lens in their creative spaces. Given the friendships I share with most artists, I have photographed them in their studios while they install exhibitions and in other creative spaces that they occupy. This extensive project is a confluence of my love for art, fascination for artistic talent and a growing love for the captured image. The digital medium has been a great enabler for me, not just to freeze those moments but also to provide a portal for yet another expression. As I capture the artists within the structure of either their studios or exhibition spaces – a moment in history and a human idiosyncrasy is recorded. My lens has captured many such special moments over the last few years.The project has expanded organically as I now capture not just the artist but those who cross paths with comtemporary Indian art .These includes curators, gallerists and collectors. What began as a simple labour of love, capturing peers and seniors of the fraternity, now offers a tremendous potential as an invaluable archive of o the Indian art scene.It demonstrates the ‘work-in-progress’ phase behind the scenes and by provides an insight into the environment that the artists create in their laboratories to seek the creative flow and record the silent conversations between them, their work and their space. Most importantly, this ongoing project serves as a visual record of a crucial bridge of insight and understanding into the intimate world of the toils and tribulations of an artist.

Venue: Rose Bungalow, Princess Street, behind Vasco church on Parade Ground, Fort-Kochi, Kochi- 682001.

Support: KNMA ; Saffron Art Foundation

Dates: 12th December 2014- 29th March 2015

Outside India: End of Empire



Artist: Robert D’Souza (Ed)

Concept Note: The Ambassador car from the late 1940’s became a symbol of India’s independence from a British colonial past, a legacy of a Nehruvian modernizing agenda and a closed economy, only to become a victim of recent economic reforms rendering it suddenly into a curio of this recent past. In May 2014 the maker of India’s Ambassador car have suspended production, citing debt and lack of consumer demand for the still iconic vehicle thus rendering this original sculpture into a new memorial to the dismantling of a mythical India realized in the sculpture presented at the
Kochi at the Biennale.

The sculptural artwork is the photographic recording of an abandoned and wrecked Ambassador car found in Delhi in 2012, that is literally ‘returned’ by D’Souza from decline into an object made whole again. This resurrection is achieved by rendering his original photographs into a three dimensional photographic shroud of this deceased vehicle while also capturing the external multiple viewpoints and frozen moments framed as multiple views of India.

The car acts as a lens capturing a rupture in the world its cubist appearance also recognises the multiple viewpoints where ‘inside’ and ‘outside’ vie together to make sense of each other and where each vantage point struggles to inhabit a space of the original object. The sculpture here in the Biennale is positioned in a parking bay on a busy street thus returning it as an object into what on first appearances would be it’s natural home, making it’s reading as a sculpture more ambiguous and challenging in the public sphere.

The sculpture not only becomes a form of documentary of an object but absorbs issues of boundaries and space within the political and social complexity of territory in the city also videnced by the graffiti tags on the car of the Delhi based street artist Daku (whose pseudonym is a colloquial expression for ‘bandit’) who has since become known as an artist making poignant and observations on socio-political issues in a public context. The abstraction from the original object not only becomes a meditation on the complexity of change and identity in contemporary urban India, but also through the title becomes a clear reminder of a historic and colonial past rendered impotent through recent historic change.

Venue: RDO Office, Fort-Kochi

Dates: January 27, 2015 – March 29, 2015

Project Support: Winchester Centre for Global Futures in Art Design & Media, Winchester School of Art, The University of Southampton, UK, Wieden+Kennedy, Delhi and David Jose at DJ Designing, Fort Kochi.


The Unending Dance of Light


Artist: Seema Kohli

Concept Note: “Each day, we wake slightly altered, and the person we were yesterday is dead. So why, one could say, be afraid of death, when death comes all the time?” John Updike

Unending Dance of light” is a body of work expressed in various mediums such as paintings installations, sculptures etchings, performance and video, where the artist is inspired by the idea of Benares, Varanasi (or Kashi) where it is believed that, being cremated at the banks of the holy river Ganges liberates you from birth and death cycle…….The artist interprets this as a dance of rejuvenation in quick time and quite “nakedly”.

The photographs below are a small look into the kind of images that will be part of the final project and exhibition.

Venue: Yousuf Building, 7/644 Jew Town, Kochi-682002.

Curator: Charlotte Dugdale

Support: Gallery Veda

Hosting Gallery: Gallery veda

Dates: 12th December 2014- 29th March 2015. Opening on December 13th at 5 pm

What is home - Ideas of belonging


Concept Note: Our lives are a constant caravan of immovable objects in search of permanence, tied to us with nothing but an idea. Home can be different things to different people – a collection of ideals and aspirations, a drifter’s continuous struggle to not belong, a nomadic search for stability or an attempt to be as many things as one can possibly conjure.

These notions of home seem to be true for all of us. Aren’t we always looking to find that space where we can claim to belong to, the space that can claim us as much as we can claim it? And don’t all of us feel some primal urge to constantly search for the safety and comfort of the womb space that was the original home for each one of us?

This collection of photographs is a look at the idea of homes of the people I have come across in my travels. It documents the connections I made with fragments of their homes. In the kaleidoscope of other people’s homes, I began to find my own again. In finding their homes I found my connection with the world. And I hope this journey will take me to where I belong.

Venue: Yousuf Building, 7/644 Jew Town, Kochi-682002.

Curator: Charlotte Dugdale

Support: Gallery Veda

Hosting Gallery: Gallery veda

Dates: 12th December 2014- 29th March 2015. Opening on December 13th at 5 pm


Critical Juncture

Black Diamonds, still 01, ukasz Surowiec, 2012

Artists:  Sanchayan Ghosh, Tushar Joag, Magda Fabianczyk, Gopakumar R, Joanna Rajkowska, Alicja Rogalska, Sharmila Samant, Dinesh Shenoy, Cop Shiva, Łukasz Surowiec, Julita Wójcik, Artur Żmijewski
Concept Note: Critical Juncture brings together a collection of artistic responses to contemporary political and social issues in the state of Kerala, India and Poland – two geographically remote territories that both have been influenced by different notions and practices of communism.  As a starting point for the project, the curators adopted the term ‘critical juncture’, which is used in political and social sciences to describe a point of liquidity or a short phase during which it is possible to change the course of events. The participating artists investigate socio-political changes that have been happening in Poland and India, exploring, amongst others, issues of in/visibility, the importance of utopian thinking, forms of social self-organisation and mechanisms of exclusion.
The exhibition will take place inside a former spice warehouse located in the historical Jew Street in Mattancherry, which forms part of today’s Kochi, as well as public spaces around town. Historically, while Fort Kochi used to be a fortified European settlement, Mattancherry was the trading hub for other foreign settlers, such as Jews, Arabs, and Armenians as well as for merchant communities from India, such as Gujaratis and Jains.
Along with creating a space for critical thinking and exchange, Critical Juncture’s genuine engagement with the local community of Kochi proposes a model of exhibition, where artists work with residents and support local workers and workers’ unions. The invited artists represent different generations, levels of recognition and social backgrounds and include both internationally and locally acclaimed artists.
The project is partly artist-led, which sets a base for a collaborative approach and provides an alternative to the established hierarchies of the art world. An integral part of the project is the residency for the invited artists, creating an immersive environment to engage with the local community and either to produce new work or conduct in-depth research for future projects. The programme of the residency, from common accommodation and meals to research trips and university hosted seminars and workshops enables both informal and structured interaction between the artists from the two countries, setting up the possibility of future collaborations.
Venue:  7/644, Jew Town (200 meters from Tourist Police Museum), Mattancherry, Kochi- 682001 and off-site project ‘Rainbow’ in Jew Town near the Synagogue
Curator: Dr. Neelima Jeychandran and Magda Fabianczyk
Support: Ministry of Culture and National Heritage of the Republic of Poland, Warsaw; Polish Cultural Institute in New Delhi; Win-Win Foundation, Toruń
Dates: 12th December  2014- 20th February 2015. Opening on December 13th at 5pm
In Which the Smallest Gestures Become Epic


Artist: Epichema Upadhyay (IN) & InEpic: Bo Magnus, Nina Grieg, Gitte Saetre (N).

Concept Note: The exhibition “in which the smallest gesture becomes epic” is an extraordinary chance to remember for a moment; positive and culturally relevant change in women’s outcomes, locally as well What are on display are both unique as well as overlapping topics. Carefully juxtapositioning of works with varied responses to women’s situation, with persistence of inequality as the common denomeny for artistic exploration. Seen from both a locally as well as universally reference points. This juxtaposition of the work in the exhibition, attempt to create coalitions rather than just a single entity addressing gender concerns.The artists offer us an understanding of art as an active constituent of meaning production, rather than a mirror onto the world. They focus on ways in which art constructs locations, articulates subjects and genders critical thought in viewers, removed from representation of a preconceived ‘real’. The work within the exhibition establishes the active role that the arts play in the formation of complex subject positions that move across and within conventional cultural and geopolitical boundaries. The individual projects by the artists make possible a range of futures.

Venue: Backyard Civilization Gallery, 951, North block Bazaar Road, Mattancherry, Kochi- 682001.

Curator: Malin Barth ; Producers: Riasbabu, Kuzhoor Wilson

Support: Indo Norwegian Cultural Society

Hosting Gallery: Office for Contemporary Art (OCA) in Norway, Gallery 3,14, Bergen municipality

Dates: 24th January 2015- 1st March 2015. Opening on January 24th at 5 PM


JANELA - Migrating Forms and Migrating Gods


Artist: Stefano Canto (Rome, Italy), Kedar Dhondu (Goa, India), Bhisaji Gadekar (Goa, India), Kendell Geers (Johannesburg, South Africa), Siddharth Gosavi (Goa, India), Gonkar  Gyatso (Lhasa, China), Sweety Joshi (Mumbai, India), Katharina Kakar (Luebeck, Germany), Siddharth Kerkar (Goa, India), Subodh Kerkar (Goa, India), Chaitali Morajkar (Pune, India), H.H.Lim (Kedah, Malaysia), Kalidas Mhamal (Goa, India), Kazuko Miyamoto (Tokyo, Japan), Midhun Mohan (Goa, India), Krisna Murti (Jakarta, Indonesia), Pradeep Naik (Goa, India), Viraj Naik (Goa, India), Yoko Ono (Tokyo, Japan), Luana Perilli (Roma, Italy), Luigi Presicce (Porto Cesareo, Italy), Marco Tirelli (Roma, Italy), Diptej Vernekar (Goa, India), Friso Witteveen (Amsterdam, Netherlands), Kan Xuan (Xuancheng, China), Narendra Yadav (Ratnagiri, India)


Concept Note: ‘Janela’ is an exhibition that intends to stir up histories. To dig into the recesses of historical archives, memory and celebrate the ‘connectedness’ of cultures. The waves that wash the shores of the west coast of India have not only carved and shaped rocks, but also ideas, dreams and narratives. The ocean has acted as a medium of intercontinental cultural diffusions. The word for a window in both Konkani and in Malayalam is adopted from the Portuguese language. It is ‘Janela’. ‘Janela’ is an attempt to peep into the shared histories of Goa and Kerala and also explore what historians A. G. Hopkins and Christopher Bayly described as proto-globalization. It is also an endeavour to narrate history through the contemporary idiom. Subodh Kerkar, Director of MOG.

‘Janela. Migrating Forms and Migrating Gods’ features 27 Indian and International artists. A sizeable number of artists working in Goa have been represented. The show focus on the question of visual forms – considered as shapes, archetypes or symbols – and their aptitude to being assimilated or modified during the process of cultural cross-breeding. A special attention is paid on the visual forms connected with the transcendent. In the past, the topic of the sacred image has always had a great importance in European and Indian art. The exhibition questions its redefinition, and the role that it might have, today, in the context of artistic researches focusing on identity, historical, socio-political and/or anthropological issues.

Venue: Mill Hall Compound, IV/599 Eraveli Road, Mattancherry, Kochi- 682002.

Curator: Valentina Gioia Levy

Support: Museum of Goa

Dates: 12th December 2014- 29th March 2015

Edge Effect


Artist: Rathin Burman, Mansoor Ali, Pallavi Paul

Concept Note: In nature, this is a region where two adjacent ecosystems overlap, such as land and ocean, or desert and grassland or earth and outer space. It is a transition zone where one community blends into another and they both become an interface resulting in high productivity and independent co-existence. The Edge Effect is an ecological concept that describes that there is maximum activity and diversity at a point when something ends and another begins.

This can be understood in many ways. Evening – is a time of the day when day transitions into night. It is a time when the world prepares for the darkness and the departure of the sun.

This can also be applied to the concept of Bardo, a Tibetan word, which signifies the intermediate state of existence between two lives on Earth, experienced through meditation, dreaming, life, death and afterlife, which are episodic and transitional.

An illusionistic line that separates the fire from its surrounding, this is the ‘in-between’ phase that embodies all the excitement and vigor that prepares for the next phase to come. On a broader scale, The Edge Effect can be anything and everything that exists in its state of continuation.

This project is on the Beach Front at Fort Kochi, an Edge in nature. The location is a vital element to the concept and production of each work. They will be publicly displayed and simultaneously will be interacting with the environment, at the Edge of land and water.

Venue: Beach Front, Fort-Kochi, Kochi- 682001

Curator: Kanchi Mehta

Support: Sunaparanta Goa Center for Arts

Dates: 12th December 2014- 29th March 2015


Cross - Currents



Artist: Triveni artists-Vasundhara Tewari Broota, Rameshwar Broota, Shruti Gupta Chandra, Surinder, Hemi Bawa, Meena Deora, Satish Sharma, Neha Talwar, Manu Singh.

Concept Note: Structuring The World Anew

The nine artists featured in this exhibition have one common thread running through their lives and gathering them into a loosely woven mesh. They have worked in close contiguity at The Triveni Kala Sangam studios for considerable time. They have grown together over the years learning from each others experiences. Rameshwar Broota has been the head of the Art Department at Triveni for several decades and has been a source of inspiration for the artists who have been part of this institution.

Each of these artists has his or her distinct style of expression. Even so, the intimacy of shared physical space also defines some commonalities. One is the strong sense of structure displayed in the canvasses and glass sculpture.

Secondly, most of the artists have a vibrant colour palette. Art subconsciously reflects the changes in the artistic self as well as those that take place in the society. In this sense, these works of art are the reflections on the society where they live. Most of the artists articulate their individual concerns about the human life within the fast growing urban spaces- figuratively or in abstract terms. The artists deem the urban spaces as locations of human aspirations or desire. Simultaneously, they recognise that these urban locations are gradually, steadily and aggressively making incursions into the rural spaces converting their characteristic, changing the climatic balances and even re-inscribing their histories.

Together these artists have created fresh metaphors of modern times.

Venue: Gallery OED, 5/600, Bazaar Road, Mattancherry, Kochi- 682002.

Curator: Shruti Gupta Chandra

Dates: 12th December 2014- 29th March 2015

Website: ;

Sleeping Through the Museum

sleepingArtist: Waswo X Waswo

Concept Note: In Sleeping Through the Museum artist Waswo X. Waswo and his collaborators (Rajesh Soni, Subrat Behera, and Shyam Lal Khumar) raise a wide set of questions that invite us to rethink the function and purpose of the museum. As an institution that selects and preserves specific cultural knowledge by discarding that which it deems meaningless and not museum-worthy, the museum acts as an organ that not only creates but also assigns meaning and “value” to various objects. Waswo X Waswo critiques this process of “museumification” that elides the value of various objects by delimiting and constraining their meaning through a myopic lens.  Museumification is “a process that transforms a place/object into a piece of heritage by preserving the past, and is manifested with reconstructions and recreations” (Brolin & Larsson, 2011).  It is this process of transformation of an object into one defined as having a cultural heritage value that Waswo interrogates. He parodies the process of museumification to reveal the deeper implications of this process of creating notions of value (and by extension lack of value) by preserving and discarding selected objects. This is a selection process that risks hypostatizing and distorting that which it purports to represent. The title of the show thus invokes the concept of “sleep” to highlight the unintended ignorance and even distorting nature of the process of curating objects and “putting them in their place” within the museum context.

Venue: Mill Hall Compound, IV/599 Eraveli Road, Mattancherry, Kochi- 682002.

Hosting Gallery: Sakshi Gallery – Mumbai

Dates: 12th December 2014 – 29th March 2015

Hidden Voices


Artist: Nandita Choudhuri

Concept Note: The works collectively titled ‘Hidden Voices’ seek to explore subliminal layers and entities trapped in their crevices. They make a conscious and deliberate attempt to hollow out and expose multilayers that often house thoughts, feelings and other such data, which are bottled, processed, and then lost in translation. A data lost between source or origin and the recipient. A translation that is perhaps often not meant to translate true essence but instead meant to impart signals conveying denominations that are often unconsciously conjured. Or perhaps the sounds were emanated so as to conform to known idioms.

Room 1: There are two interpretations at play here. In one instance the excavations reveal the scraping of the inner lacuna. Like scraping dry rot from trees after they have been felled. The layers are peeled bit by bit to reveal historic scars; a few markings, and then there is an attempt to revisit, conjoin and resuscitate. The inscriptions here read: “I tried to peel the scabs and pick on the scars; for they bled no more but had hardened and cemented, like a hollow yet pulsating lacuna till you came along.” Here, there is a constant and incessant endeavor to fill underlying cracks. ‘Hidden voices’ are those whispers that push through submerged waters to the surface till the physicality of their presence is palpable. The voices contained, more often than not, beg to be released. And release is only possible with acceptance, reciprocity or closure.

Room 2: In the other instance, is an interpretation of energy or consciousness encased in a womb like chasm. The voices and shadows therein still painfully linger and echo the sentiments trapped in them. The fragility or strength of purpose, of the set and bottled boundaries, stands unsubstantiated in their intangibility. More often than not entities build delusory walls as fortresses, to protect the ‘Hidden Voices’ and yet expend considerable cosmic energy in trying to scale these same walls to enable a release. The visual representation here alludes to a cosmic dance with a ‘transmission of emotional energy’ in the form of physical waves, in bottled entrapment, begging for realization or arbitration. It bares a skeletal frame devoid of surface negotiations and complexities. It’s the under surface that holds integrity and authenticity.

The only appeasement will be ‘connection and dialogue’ which hopefully the viewer will provide to afford a completion.

Venue: Greenix, opp. Pepper House, Fort-Kochi- 682001

Dates: 12th December 2014 – 29th March 2015

Website: ;

Rooting (India) - The Knowledge Project



Artist: Ravi Agarwal, Prayas Abhinav, Bhagya Ajaikumar, Deborah Boardman, siteWARE: Chicago, Forager collective, Kate Daughdrill, Jim Duignan, Ken Dunn, Fernando Garcia Dory, Alexis Elton, Marianne Fairbanks, Vanessa Filley, Amber Ginsberg & Lia Rousett, Arun Kumar HG, Kevin Kaempf, Nance Klehm, Sarah Mallin, Eric May, Meg Mitchell, Ruchika Negi & Amit Mahanti, Emmanuel Pratt, Ted Purves, Marjetica Potrc, The Plant, Peterson Garden Project, Akshay Raj Singh Rathore, Madhu Reddy, Stuart Roweth, and Frances Whitehead

Concept Note: Rooting (India): The Knowledge Project connects art, food, and ecology through projects by artists, activists, chefs, and farmers
from South Asia and the United States. The drawings, diagrams, artists’ books, photographs, and pamphlets share artistic projects that bring
accessible, solution and knowledge based information to agricultural concerns. This artistically enriched “knowledge hub,” within the garden of
the Yousuf Art Gallery, is meant to generate public awareness, discussion, participation, and action. Rooting (India): The Knowledge Project
encourages casual conversations and creates a meeting space to connect, discuss, and discover potential solutions to ecological, social, and economic challenges faced by farmers form South Asia and the United States. (Organic tea will be served daily).

Since the industrialization of agriculture is in its early stages in India, unlike the United States where food production is almost entirely industrialized, it is an opportune time in India to gather artists, academics, activists, and citizens to address these issues. Because Kerala
has a mix of climates, a strong fish trade, provides 45% of India’s plantation crops, has a rich heritage in herbal medicine and Ayurveda, and
tourism related to health and spirituality, Rooting (India): The Knowledge Project does not aim to offer singular simple solutions. Instead it presents the work of artists and collectives who are redefining the critical needs of their communities and in turn are devising their own
solutions for long-term sustainability.

Venue: Garden of Yousuf Art Gallery, 6/9 Jew Town, Kochi- 682002

Curator: Tricia Van Eck

Hosting Gallery: 6018 North in conjunction with Rizhome Alliance and Walsh Gallery

Project Initiated by Deborah Boardman and Akshay Raj Singh Rathore

Dates: 12th December 2014- 12th February 2015



Artist: Multiple

Concept Note: Richard Sennett has defined the craftsman as an obsessive individual who is engaged in the process of creation to an extent that, to him, precision, detail and quality matter the most. This individual can remain engrossed and absorbed in one minor act, which may go unnoticed to others, until his eye and hand have ensured that even the most insignificant detail has been given a purpose. He cites the example of the conductor who will work on a single note with his orchestra, without the concern for the overtime he is paying for at the theatre.

Who is this craftsman?

The craftsman can be anyone who has painstakingly rehearsed a role for years to master it. A craftsman is not only the one who sits on his potter’s wheel for years churning out terracotta cups for local chai shop, but also includes musicians, drivers, engineers, parents, kings and also industrialists.

A similar obsessive desire to create is seen in two individuals belonging to different times. It was Hari Hara I and his brother Bukka (cited here as one person) who converged smaller kingdoms into one large Vijayanagar Empire in the 14th century and in his continued desire created South India’s largest empire, with it’s capital at Hampi. The city was established in a detailed and well-thought precision of quarters that served different purposes, which included the royal pavilion sacred quarters.

Each and every building was planned with an eye to detail, making Hampi one of the richest and most flourishing centers of trade and commerce from the 14th to the 16th century.

The craftsman for the 20th century can be identified in Mr. Sajjan Jindal, who like the Vijayanagar kings, established the JSW Steel Plant on a completely barren land on the outskirts of Hampi. Over the last twenty-five years, the plant has grown into a significant industrial town, with and every detail looked into. The change in landscape is a remarkable one.

The two above mentioned craftsmen are artists who, according to Sennett, questioned both the ‘how’ and ‘why’ in his labor of creation. Hari Hara 1 and Sajjan Jindal are two individuals who created their townships by always giving preference to their surroundings. The Vijayanagara kings used the local rocks brilliantly for their defense and devised techniques to ensure that the river water reached each and every citizen. The Jindals devised ways to reuse waste energy within their plants and ensured that the city, once abandoned as an infertile region for an industry, becomes a green patch in northern Karnataka.

Thus, the backbone of the residency is in the historicity of the two cities, which were established on similar motifs. The UNESCO World Heritage Site of Hampi lies abandoned and in ruins but travelers to this region can get a glimpse of the rich  history it beholds. Similarly, the JSW Steel Plant provides the traveler, in case, the artists, the raw material, which is innate with materiality and historicity. It provides an arena of ‘residues’, that come alive in the form of stories and scrap, to engage in a process of making that is thus contained with thinking and feeling.

Richard Sennett, The Craftsman, Yale University Press, 2008.

The engagement with residues of the cultural past of Vijaynagara kingdom and the recent scrap from the steel plant will evoke a new life into objects, which had finished their journey of meanings, and begin a new cycle of creation and destruction. Here the artist too becomes the obsessive creator, the Homo Faber, who would question the ‘why’ of creation through multiple community and outreach initiatives. Just like the two cities were always a center of convergence of people of different backgrounds, ideas, motivations and goals, the experimental residency will imbibe the nature of a workshop, where the process of creation will hold prominence that the product itself.

Abhisaran is an attempt towards converging different countries of the Indian subcontinent that, share a similar political-cultural past. It re-inclines aged associations of the SAARC counties through an artist residency, which will be inspired by the historicity of the UNESCO World Heritage Site of Hampi and the JSW Steel Plant in Vijayanagar, both attributed to visionary individuals.

Venue: Jindal Residency, Kaladham, Vijayanagar, Karnataka.

Curator: Amit Jain

Support: An Initiative of JSW Foundation

Dates: 10th November  2014- 30th November 2014


Mythical Fantasy



Artist: C.N.Karunakaran (Late)

Concept Note: It’s meditation with your eyes open! CN Karunakaran’s pictorial world transcends viewers into stirring their inner quests breathing life into their existence. Be it his paintings, drawings or literary illustrations, his figurative style affirms the beauty of interiority.

“I paint to satisfy my own endless query, canvas after canvas. I paint for my joy,” said CN Karunakaran, a globally-renowned painter and recipient of prestigious awards such as the Kerala Lalitha Kala Academy award in 1971, 1972 and 1975; P.T. Bhaskara Paniker Award in 2000; Malayattoor Ramakrishnan Award in 2003; Raja Ravi Varma award in 2009 and many more accolades.

The recently published book ‘Mythic Imagination: Art of CN Karunakaran’ is a testimony to the singularity of his fine art spanning an unrivalled six decades.

Born in 1940 in Kerala, Karunakaran has been widely exhibited in India, Brazil, US, Vienna and Kuwait.

Venue: Artry Gallery Kochi, Ground Floor, Fort Manor Hotel, Fort-Kochi- 682001.

Support: Clay Fingers / Artry

Hosting Gallery: Artry Gallery, Kochi

Dates: 14th December 2014- 25th January 2015





Artist: Josh PS, Manisha Parekh, Murali Cheeroth, Iranna GR, Prajakta Palav, Sambhavi Singh, Vicki Mcconville.

Concept Note: Unmarked attempts to find a way of approaching that which is not there, that which cannot be surveyed within the boundaries of the putative real.

Revalue a belief in subjectivity and identify that segment which is not visibility representable.

Examines the implicit assumptions about the connections between representational visibility and political power as historically gathered momentum over the recent years.

This exhibition also tries to address the instruments of power along with the impacts of them thus turning what could be plain illustration into an ontology.

Thus the search is for a language and voices which could come close to the fragile and the vulnerable, at times with an expectation that an affirmative lurks somewhere. The exhibition uses many of the contemporary devices such as the language of the found, the off- site projects and new media.

Venue: 6/951 Ground floor, Mattancherry, Bazar road, Kochi- 682002

Curator: Artville

Hosting Gallery: Artville

Dates: 12th December 2014- 29th March 2015


Annamalai and Gorbeia. Two Mountains.



Artist: Jasone Miranda-Bilbao

Concept Note: Annamalai and Gorbeia. Two Mountains was developed especially for this occasion in Kochi. The work consists of a large installation of posters made with photographs of two mountains, Annamalai in Tamil Nadu and Gorbeia in the Basque region of Spain, glued directly onto the walls of OED gallery’s courtyard. A text written by the artist placed near the images suggests a connection between geology and the myths and stories that have grown around them. It appears in Tamil and Euskera — the two being the languages spoken at these locations, and also English. The project has being made with the assistance of the Basque Institute Etxepare of Spain and the NIV Art Centre of Delhi.
Jasone Miranda-Bilbao is an artist based in London. She lives and works in different places for periods of time and this allows her to incorporate ‘movement’ into the work as a material and aesthetic element. The work then takes place in any medium that may be appropriate to the situation: photography, video, sculpture etc. or change form from one place to another. In opening up a leap from her habitual frame of reference, she seeks to examine the principles by which we construct experience and our relationship with our surroundings.

Venue: Gallery OED Cochin, 5/600 Bazar Road, Mattanchery, Kochi, 682002, India.

Dates: 10th December 2014 to 29th March 2015

Curator: Geetika Arora

Support: The project is funded by the Basque Institute Etxepare of Spain and facilitated by the NIV Art Centre in Delhi. The artist also thanks Nerea Zapirain and Sella Muthu Ramesh for their assistance in the production of the work.

The PRAC forum

Concept Note: This exercise will bring together curators and art professionals from across the country and beyond to discuss issues related to the practical and the critical aspects of their practice.

Built around four main themes, the aim of the work group is to create a social yet professional space for discussion where curators and art professionals present in Kochi will interact, network and exchange perspectives and experiences.

This format, merging practice with theory and critical thinking, also aims to instigate the creation of a national community engaging with the larger artistic and curatorial landscape.

The themes that will be discussed are:

  • The Age of Exchange. Current and future trajectories.
  • Curatorial cartography of India. How to network?
  • Quid of Indian curatorial studies and practice.
  • Curatorial Modes: Rethinking Exhibition Formats across Disciplines
  • Questions of Site and Specificity : The ‘Public’ in curatorial practice

The workshop will be organized as follows:

9:30 AM – 10:00 AM: Tea reception/registration

10:00 AM – 10:20 AM: introduction by Marialaura Ghindini and Julia Villaseñor to the workshop session, briefly presenting the themes that will be discussed by each table.

10:20 AM – 12:10 PM: Breakout in groups and discussion

12:10 PM – 12:30 PM: Organic tea and snacks hosted by The Knowledge Project

12:30 PM – 1:30 PM: Presentation of group discussions by the conveners and open discussion among the participants.

Please remember that the workshop will start at 10am prompt

The session will be open upon previous registration to the workgroup tables.

Venue: Yousuf Building, 7/644 Jew Town, Fort Kochi

Organizers: PRAC forum Delhi

Support: Blueprint 12, Foundation for Indian Contemporary Art

Date: 14th December, 2014 | Time: 9:30 AM – 1:30 PM

How to participate

* RSVP to [email protected], including brief details about you (name, profession, why you are interested in taking part in the workgroup, this will aid the organization of the workgroup session) or call Julia at +91 7503430396

* Let us know which work group theme you would like to take part in

* Upon arrival, you will be asked to register and pay a fee of Rs 200 to cover costs

Painting De/Theory
Painting De-Theory

Narendra Shankar Dewoodkar, assisted by Haegue Yang, painting on canvas, 2014

Curator: Sumesh Sharma
Concept Note: Narendra Shankar Dewoodkar, despite theoretical concerns, thinks himself as an artist. He began as a floor assistant at a Bollywood painter’s studio. He is 68 and since the age of 15 he has assisted in making large rectangular paintings for Bollywood studios and cinema facades. Painting having fallen from conceptual art practice has manifested as a mere decorative pursuit, and painters are seen as artisans. Thus Painting De/Theory, questions the absolute nature of conceptual authorship that finds resonance in idea of division of labour advocated by the Indian Caste System, thus artists such Haegue Yang, Bernard Akoi-Jackson, Janek Simon, Prabhakar Pachpute,  Mai-Thu Perret and Amol Patil among others conceptually assist Dewoodkar in his first ever solo show were he produces their images,  lines, briefings and ideas consuming them as his own.
Venue: Clark House Para Site at Spice Godown 205 (Near Tourism Police Museum), 6th Division, Jew Town Road, Mattancherry, Fort Kochi
Dates: December 12, 2014 – March 30, 2015
Time: 11 AM – 7 PM
Contact: Safran Peter +91 8089 062 693



Artists: Donald Fels & Surya Noufal

Curator: Sumesh Sharma, a Clark House initiative

Concept Note: Don Fels is a conceptual artist , who often works with the intersection of commodities and culture. Resultant Material culture that erupts through trade and ends of economic cycles inform his practice, but more importantly the effect of these economic functions on people and their visual culture becomes his core concern. Fels came to Kochi researching the pepper trade, Kerala’s position in pepper in recent years has been eclipsed by countries in South East Asia that have cheaper labour and favourable terms of trade with the occident. Thus Fels found empty pepper godowns and a trade which like in his hometown had been put out of business and sight over-night. Painted hoardings once were the essence to any successful launch of a movie, each town had a hoarding painter. In Kerala, the tradition was passed through different guilds where young men joined to learn the trade. Surya Noufal had been working on this trade since the age of 15 until it was outsourced to digital methods. Noufal met with Don Fels in 2004 and along with other painters became a part of a project on Vaso Da Gama that Fels initiated. Noufal was the first painter friend Fels made in Kochi after a search for four months as all sign-board painting studios had shut down.

Fels and Noufal are now involved on a conceptual performance on the factory floor of an empty Factory Floor , people drift in to watch Noufal paint ‘Worlds’. Each piece is a triptych and each work has three panels and each panel depicts a separate world of its own which are connected visually but not in terms of linearity or telling a narrative story. Fels collects the residue of digital movie posters that are eye sores in the city , pulling them from the walls and making collages with this found material completing a circuit of production and consumption that once made Surya Noufal redundant.

Venue: Clark House Para Site at Spice Godown 205, Near Tourism Police Museum, 6th Division, Jew Town Road, Mattancherry. Fort Kochi

Dates: January 4, 2015 – February 28, 2015

Time: 11 AM – 7 PM

Project Support: Jose Dominic, Trustee of Kochi-Muziris Biennale & CEO of CGH Earth, Malini Tolani Gulrajani, Director of 1×1 Gallery Dubai.

Contact: Safran Peter – +918089062693

Possible Effects

Possible Effects Artist: Manohar Chiluveru

Concept Note: The works of Manohar Chiluveru explore the relationship between individual identity, social relationships and, world changes. The loss of social cohesion is one of the possible effects of the fast social changes, which people are experiencing all over the world in these years.

In Children Park in Fort Kochi, Manohar Chiluveru features a 12 feet sculpture representing a walking man with a spoon in his month and a egg upon it. The sculpture is part of ‘Egg-and-Spoon’ that is a series of works, which range from sculptures and paintings to performance and site-specific installations. In this series of works Chiluveru focuses on a very popular children game that can also be considered as one of the simplest methods of social interaction and a way back to childhood and innocence.

The installation in Children Park is part of Possibile Effect, which is an ongoing project focusing on green and sustainable lifestyle that will travel around the world, including the 56th Edition of Venice Biennale (Italy), as a part of the collateral event ‘Personal Structures’ in Palazzo Mora. Possible Effect will involve a number of international art curators, artists and personalities from sport, cultural and scientific life.

Venue: Children’s Park, Fort Kochi.

Date: March 5th to March 29th, 2015


Artist: Jaiby Paul

Concept Note: This project highlights ” THE THEORY OF TRINITARIAN STYLE OF STORY TELLING”. Here the story is narrated in three languages consecutively ie. Malayalam, English and French. This idea is intended to convey the fact that,eventhough the languages are different the ultimate truth and human texture in this visual presentation are one and the same. It conveys the evolution of his life; his-story; history!