NEWS & UPDATES
We mourn the loss of Anoop Skaria, a friend of the Foundation and an important contributor to the cultural life of Kochi. Anoop, along with his wife Dorrie, founded Kashi Art Cafe in Fort Kochi, a space that supported many local and other artists in their careers....
The Managing Committee of the Kochi Biennale Foundation met on October 19, 2018 to discuss the allegation raised in the media against Riyas Komu. Though the Foundation has received no formal complaint, we are collectively committed to ensuring zero tolerance to any...
5.30 pm, Wednesday, 17th October Pepper House, Fort Kochi ArtistBarthélémy Toguo is currently on Kochi, creating work on-site for Kochi-Muziris Biennale 2018. Please join us for an evening of discussion, where he will discuss his practice and more recent works. All...
Call for Applications Kochi-Muziris Biennale would not be possible without a team of dedicated volunteers. Apply now to be a part of the fourth edition! Duration: November 2018 – March 2019 Applications Accepted until November 7, 2018 Volunteers must exhibit diligence...
Join us for a Let’s Talk session with Pepper House artist-in-residence, Anton Kats. Anton Kats is an artist and musician from Kherson, South-Ukraine. Born into the family of a WWII wireless radio operator, Kats’ practice derives from informal everyday relationships...
It was with great sadness that we heard of Australian artist Chris Mann’s recent passing. Chris was a participating artist in forming in the pupil of an eye, the 2016 edition of the Kochi-Muziris Biennale. His captivating sound work, speaking is difficult, as...
Anoli Perera (b.1962, Colombo) took a degree in Political Science, Economics and Sociology at the University of Colombo, Sri Lanka followed by a Postgraduate Diploma in International Affairs. She then lived in the USA between 1988 and 1992 where she followed the 'Continuing Art Education Programmes’ at Santa Barbara City College, California and the Visual Art School of Princeton, New Jersey. Her work reflects certain social and political issues relevant to her context. Her work has revolved around the subjects of domesticity, body, memory, history, post coloniality and urbanity. Her recent works deliberate on the erasure of personal and public memory and the anxiety of forgetting. She currently works as a painter, sculptor and installation artist, based in Sri Lanka and New Delhi.
Anoli Perera is a co-founder and a director of the Theertha International Artists Collective, a contemporary arts initiative in Colombo, Sri Lanka.
Her works have been exhibited in the Colombo Art Biennale in 2014, 2012 and 2009; Artful Resistance at Museum der Weltkulturen, Frankfurt, Germany, (2010) and Museum of Anthropology Vienna, Austria (2009); Separating Myth from Reality (Art Festival), Siddhartha Gallery, Katmandu, Nepal (2009) amongst others.
She received the Bunka Award in 1999, and the Young Artist of the Year, Young Contemporaries Exhibition, National Art Gallery, Colombo, Sri Lanka in 1992.
Arunkumar HG (b. 1968, Karnataka) was brought up within a farming family in the Western Ghats. He studied at the Faculty of Fine Arts, Maharaja Sayajirao University of Baroda, and went on to work in the toy industry in the metropolitan cities of Delhi and Gurugram. Caught between contradictory landscapes, the artist attempts to address this tension through his practice. He maps the complex relationship between ecological issues and the wasteful urban industrial mode of thinking and living. In 2014, he set up the 'Centre for Knowledge and Environment' in his hometown under the organisation SARA (Sustainable Alternatives for Rural Accord), to share and learn from local and global sustainable life practices.
Arunkumar's solo shows include: In-site, Aicon Gallery New York (2018); Seed of Reckoning Mumbai Art Room, Mumbai (2012); Tract, Nature Morte, New Delhi (2010); Feed, Nature Morte, New Delhi, Sakshi Gallery, Mumbai (2006).
He has also participated in numerous group exhibitions in India and abroad, most importantly: 'Embrace Our Rivers' Goethe-Institute / Max Mueller Bhavan, Chennai (2018); Sculpture by The Sea, Sculpture Biennial Aarhus Denmark (2015); The Eye and The Mind: New Interventions in Contemporary Indian Art, Festival of India, China (2015), sponsored by the National Gallery of Modern Art; Beyond Limits, San Diego Art Institute, San Diego (2014); Aesthetic Bind Citizen Artist: Forms of Address, Chemould, Mumbai (2013); Crossing Space, Kunsthalle Faust, Hannover, Germany (2013); Art and Activism in India Since 1989, The SAHMAT Collective, Smart Museum of Art, The University of Chicago (2013); Zones of Contact, Kiran Nadar Museum of Art, Noida, India (2013); Cosmopolitan Stranger, Open University of Diversity, Hasselt, Belgium (2012).
ANNU PALAKUNNATHU MATTHEW
Araya Rasdjarmrearnsook (b. 1957 in Trad, Thailand) works predominantly with film and video. Her work references traditions of village storytelling, creating continuities between the present and the past, the everyday world and the world of spirits and legends. Her videos have a meditative, ritualistic quality, and, like many of humanity’s important rituals, they are often centered on the idea of communication between different realms: between the living and the dead, the insane and “normal” people, humans and animals, the worlds of art and “real life.” She currently lives and works in Chiang Mai, Thailand.
Her recent solo exhibitions include Jaonua: The Nothingness and Sanook Dee Museum, Tyler Rollins Fine Art, New York, USA (2017), an artist is trying to return to ‘being a writer’, 100Tonson Gallery, Bangkok, Thailand (2017)
2016; Selfhood’s Garden, Gimpel Fils, London, UK (2016); Araya Rasdjarmrearnsook, Sculpture Center, New York (2015); Niranam, Tyler Rollins Fine Arts, New York (2015); Niranam/The Nameless, Kyoto Art Center, Kyoto (2015).
She has participated in numerous group exhibitions, recent ones including Decoration never dies, anyway, Teien Museum,Tokyo (2018), Das Letste Bild, Stadtgalerie Saarbrücken, Germany (2018); Sunshower, Contemporary Art from Southeast Asia 1980s To Now, Tokyo, Japan (2017); PyeongChang Biennale, Korea (2017); Singapore Biennale (2016), Singapore Art Museum (2016); SEA+Triennale, National Gallery of Indonesia, Jakarta, Indonesia (2016).
Bracha L. Ettinger (b. 1948, Tel Aviv, Israel) is a prominent artist-painter and influential artist-theorist, philosopher and psychoanalyst, whose pioneering work has emerged in the late 1980s and the 1990s and caused major transformations in the fields of contemporary European painting as well as in critical studies, art theory and feminism. Based in Paris and Tel Aviv, her art, both abstract and symbolic, is a research of color as light and of archival traces which engage with historical and personal memory in relation to war, trauma, human encounter-events, witnessing and the feminine, rearticulating beauty with compassion-beyond-empathy as abstraction, and the passage from aesthetics to ethics in art.
Professor at the EGS (Switzerland), Bracha is one of the world’s leading theorists in the realm of the sexual difference and French feminism, who developed a series of concepts for rethinking the Unconscious and art, including the matrixial time, borderspace, borderlinking, borderspacing, co-poiesis, the matrixial gaze, wit(h)nessing, metramorphosis and the Subreal, which led to a new understanding of both the feminine body-psyche and the human subject.
Bracha's solo-shows include: "Pieta - Eurydice - Meduas", UB Anderson Gallery, Buffalo, (2018); Silesian Museum (Muzeum Śląskie), Katowice (2017); "Eurydice - Medusa" in the 14th Istanbul Biennial (2015). Museum of the City of St. Petersburg (2013). Musee des Beaux-Arts d'Angers (2011). Alma Matrix (dual) at Fundació Antoni Tàpies, Barcelona (2010). Freud Museum, London (2009). Finnish Academy of Fine Arts, Helsinki (2009). Kiasma, Helsinki (2006). Drawing Center, New York (2001). Her recent group exhibitions include Colori, GAM, Turin (2017); The Image of War. Bonnier Konsthall, Stockholm, (2017); Ontmoetingen. MAS/KMSKA, Antwerpen; The Haunted House - The Human Condition, Ekaterina Institute, Moscow.
Ettinger is author of numerous articles and few books including Regard et Espace-de-bord matrixiels, 1999; The Matrixial Borderspace (essays from 1994-1999), 2006. A reader of her essays in two volumes is currently edited by G. Pollock.
B V SURESH
B V Suresh (b. 1960 in Bangalore, India) studied painting at Ken School of Art in Bangalore (1978) and completed his diploma and post-diploma at the Faculty of Fine Arts, Maharaja Sayaji Rao University, Baroda, in 1985. He later went on to do an MA in painting at the Royal College of Art, London, on an Inlaks Scholarship where he studied under Peter De Francia and Ken Kiff (1987). As an art teacher and a practicing artist, he is continuously negotiating the visual fields of the contemporary – that includes everything, from art practice to our immediate surroundings. His works combine videos, installations, paintings and digital prints through which he explores distinct themes and employs certain narrative strategies in the process. In his recent works, Suresh gestures towards spaces where the private and the public seem to fold into each other while staging diverse violence.
His recent solo exhibitions include Khamoshi ki Dastaan / Chronicles of Silence in Vadehra Art Gallery, New Delhi and Sumukha Gallery, Bangalore in 2016. Earlier solo exhibitions have been held at Vadehra Art Gallery (2006), Gallery Chemould, Mumbai (1998) among others.
His artistic life extends beyond studio practice into teaching, theatre design and children’s book illustration. BV Suresh taught between 1992 and 2017 at the Painting Department, Faculty of Fine Arts, M.S. University of Baroda and is presently faculty at the Fine Arts Department, S.N. School of Arts and Communication, University of Hyderabad. He has also been visiting faculty at Ambedkar University Delhi and CAVA, Mysore.