The recently concluded Kochi-Muziris Biennale, in its fourth edition, went against the grain of religion, nationalism and a celebratory globalism linked to neo-liberal thinking
“I remember Guy Debord’s warnings of a world mediated primarily through images — a society of the spectacle — as I write this note. That such a society is fascism’s main ally, we are all discovering in different parts of the world today.
Virtual hyper-connectivity has paradoxically alienated us from the warm solidarities of community; that place of embrace where we can enjoy our intelligence and beauty with others, where we can love; a place where we don’t need the ‘other’ as an enemy to feel connected.
At the heart of my curatorial adventure lies a desire for liberation and comradeship (away from the master and slave model) where the possibilities for a non-alienated life could spill into a ‘politics of friendship.’ Where pleasure and pedagogy could sit together and share a drink, and where we could dance and sing and celebrate a dream together.
Yet, how can one perform a biennale in a location where the biennale itself has become the sole pedagogic window into the art of the world? In a context that is so particular, as Kerala is, what could be a model, that would allow for self determination for the audience?
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