CHENNAI: In the world, we (different nations) share a lot of common ground with issues of disquiet. Issues of gender and sexuality are universal, not limited to India. Even last year, we have been unified by sharing the Covid pandemic. It’s like one world, one people,” shares Varun Gupta, the co-founder of Chennai Photo Biennale, as we discuss the comeback of the third edition of the biennale, titled Maps of Disquiet, in December 2021. The theme explores all the exigencies of our time and issues that are global at their core through the plurality of thought and voices as depicted by the artworks.
While initially scheduled for December 2020 and cancelled due to the pandemic, the annual festival is now returning to Chennaiites in its new hybrid form, adapting to the needs of the pandemic’s aftermath. To continue the work of the organisation without comprising health and safety, most artworks will be showcased digitally with the exhibition of a selective bunch that will be featured in their physical form in five spaces across the city — Ashvita Art Gallery, Roja Muthiah Research Library, Madras Literary Society, Forum Art Gallery and Goethe-Institut. “Our digital experience will be different from the early pandemic virtual exhibitions, where people would view the artwork through VR (virtual reality). The artists have also taken it up as a challenge and are working in digital form in a scroll-based narrative that people could even view on their phones. The presentation and form will be unique,” he says.
Unique is also their hybrid exhibition set to be on display at the Goethe-Institut. A digital screening room that will feature video art of various contributors in consecutive order will be available for people to witness artists from around the world. The same will be available beyond a password-protected screen on the CPB website, streaming parallel to its physical counterpart. “Some artists are working on dual-channel projection, which means the artwork will stretch across two screens. While it is important for people to come and experience the physicality of the work, we had to have something for those who couldn’t do so,” Varun says.
The CPB foundation is curating more people from Tamil Nadu in the hopes of showing themes that are important in the local context, he says. Two artists, Saranraj from Madurai and Andreas Langfeld in collaboration with Sarabhi Ravichandran, have been commissioned by the foundation to provide two different points of artistic interpretation regarding the Keeladi excavation labourers. What more does CPB have in store? Two online journals with critical text, podcasts and photo essays; talks and programmes; and a student showcase.
For more details, visit edition3.chennaiphotobiennale.com