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Kochi-Muziris Biennale

The Kochi-Muziris Biennale

The Kochi-Muziris Biennale, India’s first such show, provides a much-needed platform for a vital inquiry into today’s art by bringing together artists, curators, critics and the general public in a new form of sociality and productive interrelationship.
Mumbai-based Anant Joshi's installation 'Three Simple Steps'.Photo: l;flsd;fk
Atul Dodiya reflected upon the mystery of creativity using a poem and many photographs of artists and poets.Photo: Thulasi Kakkat
Ernesto Neto from Brazil, in 'Life is a River', used local textiles for his creation, complete with pouches that carry spices, whose fragrance contributed to the total impact and turned what was once a coconut fibre-processing factory into a magical cave.Photo: Sangeeth Thali
Ibrahim Quraishi, in his installation 'Islamic Violins', organised a series of violins to invoke a chapter from the history of music and of his country.Photo: afdaf
Subodh Gupta packed a lot of things into from the daily life of the common people in Kerala into a typical Kerala wooden boat, suggesting several contexts.Photo: adfasd
Amar Kanwar, the film-maker and artist, presented the state of the peasants of Odisha through the photographs of farmers who committed suicide, albums, books, newspapers report, paddy seeds and cultural artefacts.Photo: adfsa
Ai Weiwei, the great Chinese artist and dissenter, in his video installation 'So Sorry', reflects on his situation, the destiny of a dissenting artist in a totalitarian regime. He was not allowed to leave China to visit Kochi.Photo: Thulasi Kakkat
Dylan Martorell with his work 'Soundtracks-Kochi'. He crossed the boundaries between music and visual art when he designed his own magical musical instruments from objects he picked up from the locality.Photo: Thulasi Kakkat
K.P. Reji at work on his huge canvas depicting village life.Photo: aasdfasd
Behind Cochin Club, the work of Delhi-based Mrida.Photo: Vijay Verma/PTI
The Portuguese artist Rigo 23's installation.Photo: Thulasi Kakkat
Sheela Gowda and Christoph Storz paid homage to a vanishing lifestyle by displaying scores of grinding stones, once used to grind spices, rice and wheat but now replaced by electric grinders and mixies.Photo: Thulasi Kakkat
A fallen tree at Vasco da Gama Square in Fort Kochi that was painted by the artists at the biennale.Photo: H.Vibhu
Vivek Vilasini with his work 'Last Supper Gaza', on the opening day of the biennale.Photo: K.K. Mustafah
The artist Zhang Enli painted whole walls to create patterns with one dominant hue in the company of many others and duplicated them with mirrors.Photo: K.K. Mustafah
A view of Aspinwall House, the main venue of the biennale.Photo: Thulasi Kakkat
Durbar Hall, in Ernakulam. An important venue of the biennale.Photo: K.K. Mustafah
A view of Pepper House, which is located between Fort Kochi and Bazar Road, another of the biennale venues.Photo: Thulasi Kakkat
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Living on the edge

They are river people, whose lives ebb and flow with the waters of the Brahmaputra in a timeless rhythm. But now, hydroelectric projects and homogenis