From Kochi to Yinchuan: Bose Krishnamachari on curating an art biennale

Contemporary artist Bose Krishnamachari recently returned to Mumbai from Yinchuan, China, where he's been curating the inaugural art biennale at the newly opened Museum of Contemporary Art (MoCA). Though tired, he is excited to talk about what the "big responsibility" — curating the Yinchuan Biennale — means to him.

Could you tell me about the Yinchuan Biennale. Since this is the first, how do they see it shaping up? 

It is the first biennale in the north west of China and the second in China, the other one being Shanghai. Earlier, China had held a few triennials till 2008, but there has not been a major confluence of global contemporary art or artists there since. Yinchuan is hoping to be the first. The focus of the biennale is inspired by the universal elliptical philosophy of end is the beginning and beginning is the end.

What are your plans for the Yinchuan Biennale? 

I want to place it on the global art map just the way we put Kochi. If things fall in place, Yinchuan will become an international destination for art. Kochi was on the tourist map of India, but now it is more than that. It is on the itinerary of every art lover in the world. I hope to do the same with Yinchuan.

Among the 40 participants at the Yinchuan Biennale you have finalised, are Ai Weiwei, Anish Kapoor, Sudarshan Shetty, Riyas Komu. Will the focus at Yinchuan be primarily on India, China and expat artists from these countries? 

There are nearly 80 artists from 34 countries taking part in the Yinchuan Biennale. So I really don't think that it is about China and India. Having said that, I must add that both India and China are at the centre of the world's attention, so there is no way you can avoid artists from these two countries. Just this week, there was a story in the New York Times about Ai Weiwei showing at the very place that Andy Warhol showed at in New York.

Sudarshan Shetty has been selected as the Rolls Royce representative. Riyas Komu is curating a biennale of young artists from SAARC countries.

Yinchuan Biennale is getting the best of global art. That is what I want to do — create a place where there is a congregation of creativity by the best exponents of visual art. I am glad that there are some Indian and Chinese artists in the mix.

The Kochi-Muziris Biennale has had two successful editions and the third is coming up this year. Are you happy with the way KMB has shaped up? 

We wanted to bring the best of international art to India. In a country that has been denied of any exposure to international art due to the lack of infrastructure, this was the only way out. We are just hoping that this will inspire a lot of people in India to do the same. I think the museum coming up in Patna is an example.

Are Kochi's financial woes somewhat resolved after the last edition? 

We were never bothered about finances. We firmly believe that where there is a will, there is a way. And time will resolve the rest of the queries. It is a long road to walk and we are counting the milestones we have covered. We don't want to lead or follow. We just want to walk along and pull the others to walk along with us.

Indian artists seem to be the flavour of the season in China. Close on the heels of your appointment as curator of Yinchuan, comes the announcement that RAQS Media Collective will curate the Shanghai Biennale. How is contemporary Indian art regarded in China? 

I am glad Raqs Media Collective is curating the Shanghai Biennale. It is not completely coincidental. It is just that we have the best of soft power in the world. Contemporary Indian art is always on the upward climb and there are many more steps to be taken. People elsewhere in the world will know about our art just the way we have known their art.

You've come to be known as one of our foremost independent curators in recent years. Does curation intrude on your own practice? 

Curation is very much a part of my practice. I got into curating because it was very much a part of the process of my art making. And during that process, I realised that one cannot be independent without accepting and respecting the practices of others. I believe in inclusiveness and understanding every little detail and nuance of every art work that I choose to create a great show. And for that, one needs awareness: of art history, art practices — from traditional to the contemporary. This includes the evolving practices in graphics, design, art, architecture, music and cinema. And when you extend your inquiries in these spheres, you become drawn into an understanding of spaces — local, global and glocal. You understand locations, the habitat and the politics surrounding them. I have always called my shows: Conceptualised by.../Edited by.../ Curated by... They have never been solos. They are a coming together of art and artists from all over. One puts together art just as the way a farmer grows vegetables and also uses them along with some others he collects to make a good dish in the kitchen for the benefit of his family and guests. The pleasure is in watching them relishing the food you have cooked.