Collaterals are exhibition projects that take place in Fort Kochi and Mattancherry at the time of the Biennale, but independent of the main curatorial project. The official collaterals for the fourth edition are listed below.

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Curator: Tanya Abraham
Artists: Catherine Stoll Simon, Indu Antony, Lakshmi Madhavan, parvathi Nayar, Shubha Taparia & Sophie Medawar
Organizer: Kashi Art Gallery & The Art Outreach Society
Venue: Kashi Art Gallery, Fort Kochi
Dates: 12/12/18 – 30/03/2019

This project has been deliberately chosen to highlight the thoughts and experiences of people in society. Choosing women artists was purposeful but not feminist. Instead, it is one that proves as a platform for many, unable to allow the expression of minds and bodies. Fearless expression creates change – both politically and socially. Whether this change is deliberate or organic is not the concern, it does not even matter. But it is the freedom to chose and chose to live, in a manner that suits the individual, without broken memories or social hurdles being an impediment.

As always, I also aim to show how art is a magnificent tool of expression. It enables the unearthing of layers of emotions and thoughts hidden deep within the human mind. Art tells what others can’t, in a simple yet profound manner that cuts through blood and marrow. It signifies the ability to speak a thousand stories, silently.


Curator: Tanya Abraham
Artists: Meydad Eliyahu & Thoufeek Zakriya
Organizer: Kashi Art Gallery & Memorial Foundation for Jewish Culture
Venue: Jew Town, Mattancherry, Kochi
Dates: 12/12/18 – 30/03/2019

Red Crown, Green Parrot is a public art project, a continuation of the curatorial project Box of Documents, which was exhibited at the last Kochi-Muziris Biennale. The project now moves from within the gallery to Jew Town, at specific public sites, that recall memories of a Jewish heritage in Kochi, now barely remembered. Artists Meydad Eliyahu and Thoufeek Zakriya are concerned not only with contemporary art, which expresses this past, but also art in the written form-as calligraphy- in Hebrew, Malayalam and English. It ties together a strong past of a community whose skeletal bits remain. It aims to evoke in people the power of art and heritage, and how it continues to be unconsciously and inextricably woven into our lives, even in the current day.

BATATA EYES AND OTHER PEEL SPIELS: A Little Further Down the Alley

Artist: Anant Joshi
Venue: Fort Manor, KB Jacob Road, Fort Kochi
Host: Uru Art Harbour
Dates: 11th December 2018 to 29th March 2019

With apology letters, a vote of thanks and a pinch of salt, Anant Joshi draws upon a fictional character to report back on a world within ours.

These stories that have and will be passed down through the ages, changing hands, and becoming reportage, anecdote, fable and myth, revealing through retelling that which lies at the heart of what matters.


Curator: Manisha Gera Baswani

Organizer: Goodearth and Kiran Nadar Museum of Art

Venue: 1/655, Quiros Street, Fort Kochi

Dates: 12 December 2018 – 29 March 2019

As a practicing painter, I started using the camera as an additional instrument to capture moments with the art fraternity through my painterly journey. Over the last seventeen years, I have been photographing fellow Indian artists in their studios and those who cross paths with them – namely the gallerist, curator and the collector. This ongoing, self-funded project, ‘Artist through the Lens,’ is now a vast, visual archive of the contemporary art scene of India captured by an insider who effortlessly turns into a ‘fly on the wall’.  

Born to parents of pre-Partition India, my childhood was embellished with stories of their ‘home away from home’. On the terrain of my heart, Pakistan is an island, an abode of my forefathers, floating away on the tears of Partition.  

It was no surprise then that I had long nursed the desire to start the Pakistan leg of ‘Artist through the Lens’. I have been photographing Pakistani artists in their studios since a visit to Karachi for my solo exhibition of paintings in 2015. ‘Postcards from Home’ was borne out of these two parallel projects.  

‘Postcards from Home’, traverses the borders and brings’ home’ the artist photographed. 47 artists (the year of India’s partition), twenty-five from India and twenty-two from Pakistan, have been photographed by me in their creative spaces over the last few years. All artists have a history with partition, personally or through their respective families. While reminiscing about their ‘home’ lost, they shared their nostalgia of what tugs at their hearts when they turn back the pages of beautiful memories.

The intent is to intrigue and invite viewers with these visual frames of nostalgia, to re-kindle love and connection, touch a cord and revive the shared connection of a common history. 


Curator-Artist: Michelle Poonawala

Venue: Tennis Court, Cochin Club

Dates: 12 December 2018 – 29 March 2019

Deeply influenced by the evocative power of images and innovative technique, Michelle Poonawala endeavours to bring her artistic heritage to her practice, collaging a classic paint-on-canvas style with digital technology to create a visual language that articulates contemporary perspectives.

For the Collateral, Poonawalla brings Introspection, a multimedia installation that was born from a deep contemplation on the barrage of images of violence and displacement that inundate our popular visual landscape. The installation has two distinct spaces that employ multi-media projections and smoke-screens which come together to create a visceral experience. The installation leads the viewer through a multi-sensory journey that ends in a moment of catharsis a deep exhalation as the projected images of violence and the heaviness of the smoke simulations melt away into a cacophony of ephemeral butterflies. This compelling installation hopes to create a powerful moment of pause for the viewer amidst the bustle of life.


Curator: Srila Chatterji

Artists: WOLF

Venue: Heritage Arts, Mattancherry

Dates: 12 December 2018 – 29 March 2019

WOLF invites you to enter Eye-Spy, a trail of spaces where you examine your own perceptions, cleanse yourself of prejudice and enter a world of infinite possibilities.

The journey starts with a look at one’s own preconceived notions: a walk through one’s own eyes. 

This leads them to a ‘dhobi ghat’, an open-air laundromat inspired by the iconic ‘dhobi khana’ of Kochi, where these preconceived notions that get in the way of seeing things as they are, are washed and hung out to dry.

Finally, with cleaned perception, one enters a space full of Light and Possibility, inspired by the city of Kochi that has always had a most inclusive society. It celebrates art and culture from around the globe, absorbing it all and seeing it thrive. 

The installation incorporates discards from Theyyam, a sacred Hindu ritual practiced in parts of Kerala, in which the dancer transmogrifies into a god and invokes magical powers. It is a perfect example of how perception changes everything!


Curator: Raju Sutar

Artists: Hrishikesh Pawar, Rajesh Kulkarni, Sandip Sonawane, Vaishali Oak, Raju Sutar


Venue: VII/35, Jew Town Road, Kappalandimukku

Dates: 12 December 2018 – 29 March 2019

In the contemporary art scenario, when we are contemplating the idea of ‘Conceptual Art’ and other expressions, the idea of thinking is embedded in the larger science of the human brain’s dense matter and how is this density of the matter through ‘chemical messengers’ able to communicate ─ How does it works on our minds and on different levels of our existence, conceptual or otherwise.  Does the thought go beyond the matter itself? Considering the thought is also a matter then the question arises, what is not a ‘matter’? With these question in mind, the curator wishes to pass these questions of mind and matter to the viewers.


Curator: K. G. Sreenivas
Artists: Nick Ut, Mark Edward Harris, Boris Eldagsen, Tanvir Taolad, Giles Clarke, James Wellford, Melissa Golden, Vineet Vohra
Organizer: Creative Brands | Conceptual Pictures Worldwide Pvt. Ltd.
Venue: Mocha Art Café & Caza Maria, Jew Town
Dates: 12 December 2018 – 29 March 2019

The Photography Project features works that reflect some of the most central concerns of humanity at the intersection of alienation, conflict, politics, war, race, gender, sexualities, faith, creed, and nationality.

Shot by some of the most preeminent photographers from around the world, the works that include videos, documentaries, and multimedia installations will seek to provoke meaningful conversations surrounding the world we inhabit while engaging with the politics and aesthetics of the human project.

While the works will constitute an epistemological enquiry into some of the most fundamental and enduring concerns of humanity, it will at once represent a dialectical engagement with questions that impact society and community directly.

Also, the works will seek to cast light on the diverse, yet universal, intertextuality of the essential human condition regardless of culture, politics, geography, and ideology. Whilst seeking to throw in sharp relief questions that are more often than not ignored, the works will seek to provoke and excavate those existential dilemmas that lie dormant for want of conscious action on our part.

One of the key questions that the project will ask is: Why do we document? Is art for art’s sake alone? Therefore, how does art inform the human project?     


Artists: Georges Rousse and Nassia Inglessis

Venue: MAP Project Space

Dates: 12 December 2018 – 29 March 2019

The Museum of Art & Photography (MAP), Bengaluru is delighted to present a site-specific installation by French artist Georges Rousse and Greek design engineer Nassia Inglessis at the MAP Project Space in Kochi. 

Inspired by old, abandoned structures, Rousse combines painting and photography to create optical illusions that encourage the viewer to step into his photographs. His projects are intuitive and include a mathematical approach to divide the space into multiple planes that may seem disjointed at first, but seems to come together from a vantage point, which is where his camera is positioned. He navigates between a painter and a photographer, pushing the boundaries of conventional photography.

Nassia Inglessis uses digital tools and computation to embed new capability in matter rather than simply overlay content onto its static state. In this process, she co-opts automation to enable transformations that can be experienced in the context of how we create, perceive and act.