The Kochi-Muziris Biennale is underway, and this year's edition is prompting important conversations about whose voices are amplified in the art world. Eschewing the polished spectacle often associated with major art events, the Biennale is challenging the conventional practice of placing certain artists "on a pedestal". Instead, it embraces a more egalitarian approach, giving prominence to emerging artists, women, queer and non-binary artists, and those whose practices are deeply rooted in lived experience.
Instead of the expected wine and cheese receptions, visitors can enjoy fried banana fritters, and the curator might be seen sporting shorts. Some works are still in progress, while others are finding their rhythm, contributing to the Biennale's raw and authentic feel.
One of the key curatorial decisions this year involves a deliberate flattening of hierarchies. Emerging artists are given central positions, while more established figures frame and support the overall experience. At Aspinwall House, Birender Yadav's powerful work, Only the Earth Knows Their Labour, reconstructs a brick kiln without its workers, drawing attention to the often-overlooked contributions of seasonal laborers. Palm prints and terracotta casts of tools stand in for the missing bodies, highlighting their erasure.
Shadiya CK incorporates plants, cloth, and stone into her art, creating images that explore decay and memory. Nearby, a striking rug by twin Muslim artists Asna and Thasni MA depicts two black-clad Muslim women wearing Theyyam masks. These works exemplify how the Biennale inhabits a space between community and institution, archive and lived experience.
The selection of artists prioritizes Indian and international practitioners, with a focus on emerging voices and those often excluded from mainstream art circuits. Chopra noted that many of the Indian artists had never had the opportunity to exhibit in an international exhibition. The Biennale, in this sense, becomes a mechanism through which visibility, confidence and voice are redistributed, allowing emerging artists to occupy space on equal footing, to experience “their moment in the sun”.
Ibrahim Mahama, the Ghanaian artist, transformed a hall at Anand Warehouse with towering walls of stitched jute sacks and salvaged wooden chairs. The sacks, sourced locally, carry the marks of trade and labor, forming a dense architectural skin that embodies histories of extraction. Mahama sees his work as a civic instrument, a place for gathering and collective presence. He emphasizes the importance of engaging with materials in their raw state, acknowledging the historical, political, and economic questions embedded within them.
The Biennale is not just showcasing art; it's fostering dialogue and reflection. It is actively working to redistribute visibility and empower artists who have historically been marginalized. By providing a platform for these voices, the Kochi-Muziris Biennale challenges the art world to reconsider its established hierarchies and embrace a more inclusive and equitable future. The focus on foregrounding lived, durational engagement sets this Biennale apart, creating a space where art becomes a tool for social commentary and community building.
