Kochi Biennale challenges the practice of putting certain artists on a pedestal
Kochi Biennale, bless its avant-garde heart, isn't just challenging the practice of putting artists on pedestals; it's practically building a ramp *off* those pedestals and inviting everyone for a chaat. While other art extravaganzas might ooze an air of exclusive sophistication, demanding hushed reverence for the 'masters', Kochi throws open its doors with the casual hospitality of a neighbour sharing fried banana fritters, reminding us that art isn't just for the ivory tower elite, but for anyone willing to chew on a new idea. It's less a gilded gallery opening and more a vibrant, slightly chaotic street festival, proving true artistic merit doesn't need a velvet rope, just genuine engagement.
Indeed, the Kochi-Muziris Biennale has famously eschewed the polished spectacle often associated with global art events. Forget your typical wine and cheese receptions; here, the aroma of fried banana fritters often mingles with the scent of fresh paint, grounding the experience in local culture and everyday life. Even the curatorial approach embodies this ethos, with figures like the recent curator dressed not in bespoke suits, but in attire reflecting the down-to-earth, accessible spirit that defines the event. This deliberate lack of pretension fosters an environment where art is encountered organically, directly challenging traditional hierarchies and fostering a more inclusive dialogue between artists, art, and the public.
