The woods are lovely, dark and deep,
But I have promises to keep,
And miles to go before I sleep,
And miles to go before I sleep.
Robert Frost’s powerful lines may be from another era, but nothing fits as perfectly when one tries to encapsulate the man in question.
Bose Krishnamachari has just been ranked 38th on the Global Power 100 list of the most influential people in art by Art Review, an internationally renowned art magazine. His name resonates powerfully in the world of art; but he lets his laurels rest easy while he continues to strive towards changing the world’s perceptions about Indian art and raising India’s standing in the international art scene through his multifaceted roles as artist, curator and director of the Kochi Muziris Biennale.
Excerpts from a free-wheeling conversation with the visionary
No.38 on Art Review’s Power 100 list is no mean feat. It attests to your global influence. What does this mean to you personally?
I have always taken pride in my journey. I have had a vision and the passion to see it through. Sometimes it has been at the cost of surmounting a multitude of obstacles and sacrificing my time with my family, but my steadfast belief in breaking out of comfort zones and to keep moving led me to where I stand today. Personally for me, it is a recognition of not just my efforts but of all the people who supported and believed in me, principally my colleagues at the Kochi Biennale Foundation, our teams, sponsors, patrons, the participating artists and volunteers. The curators of each edition who are artists themselves, have all worked tirelessly and I would also like to acknowledge them — Riyas Komu (for the first edition which was also co-curated by me), Jitish Kallat, Sudarshan Shetty, Anita Dube and Shubigi Rao.
It has been said that many of our deepest motives come, not from an adult logic of how things work in the world, but out of something that is frozen from childhood. How have your growing up years shaped you?
As a child growing up in Kerala, I was interested in music, dance, theatre and art. I even registered for formal training in dance. My dream, however, was to become a doctor. My family lived comfortably but unfortunately, certain dire circumstances turned the tide. I was struck with an ailment from the age of 17 to 21 years, which saw me in and out of hospitals for all those years. I must admit that some of the prime years of my early life were completely occupied with seeking blood transfusions and other such treatments. I went into a state of coma too, at one point and battled severe depression through it all. Yet, none of these could dampen my will to rise above it. In 1985, when a childhood friend sent me the prospectus to enrol in the JJ School of Art in Mumbai, my life changed forever. My initial years as an Art college student were challenging. I worked in a restaurant for survival from 7.30 pm to 1.15 am, produced thousands of sketches, got back to my hostel room by 2.30 am and would attend my college classes every morning at 8.30 am. I recollect having a strange energy then that kept me going even with inadequate sleep. It is this same energy that still continues to drive me. My assistants often find it hard to keep pace with that!
“A mind that is stretched by new experience can never go back to its old dimensions.” From arriving in Mumbai as a young student to being one of the most influential personalities in the world of art, your journey must be replete with a myriad of new experiences that were turning points and remain etched in your memory forever…
Mumbai gave me the opportunity to meet a lot of creative people from varied backgrounds like theatre, music, literature and arts. The city was like a university and generous with everyone. Meetings and conversations with creative minds practitioners, to me, were the biggest learning experiences I ever had.
In 1993, a young and promising list called ‘The Face of 93’ by The Illustrated Weekly of India mentioned me, after a hugely successful exhibition titled ‘Amuseum’ in 1992, which I consider very special, as it was an early recognition which motivated me further. When I travelled to the US in 1996, thanks to the Mid America Arts Alliance Award, I met stalwarts like Frank Stella, Frank Gehry, Joseph Kosuth, Francesco Clemente, Lynda Benglis, visited their studios and had meaningful dialogues with them, all of which I consider important in my journey.
My maiden curatorial project which was focused on Mumbai’s younger generation of artists, had 17 artists and was titled ‘Bombay x 17’. On my visits to the galleries and exhibition spaces in Mumbai at that time, I was acutely aware of the miniscule representation of South Indian artists in most of the shows held then. In 2005, I curated a show titled ‘Double-Enders’ covering a whole spectrum of 69 artists from Kerala, some of whom were lesser known compared to those who had gained international fame. This was a historic project for me personally. I followed this up years later, in 2021, with another similar exhibition, ‘Lokame Tharavadu’ or ‘The World is One Family’ which featured 267 artists.
Another archival project that is close to my heart is the temporary laboratory that I set up in 2005, called LaVA or Laboratory of Visual Arts, as a travelling installation project. It featured an eclectic collection of handpicked books and videos on visual arts and could be called a site of experience. The absurdity of the sight of book sellers on the streets of Mumbai, perched on a pile of books while they sold their wares may have been the trigger for this project.
It is hard to imagine the grit and determination with which you changed the art world’s perception of India with the Kochi Muziris Biennale. What kept your unwavering resolution going through all the five editions so far?
The cultural potential of our nation has been grossly underestimated. When the idea for India’s first biennale was conceived in 2010, it seemed like a distant dream. Yet, in 2012, it turned into reality with the first edition taking off and ever since, despite the unimaginable hurdles crossed and the challenges encountered, especially with regard to funding, the Kochi Biennale Foundation has successfully organised five editions. Executing an event of this magnitude is never easy and I would credit everyone who had a role in this, no matter how small, for this success. The biennale has created an ecosystem for art and culture and I am constantly amazed by how people from all walks of life have embraced it. I consider this to be a truly People’s Biennale.
Your current show ‘Contextual Cosmologies’ has an unusual venue — a college of Fine Arts...
It is my belief that every college in our country, regardless of its specialisation (arts, design ,architecture or science), should provide an exhibition space where exhibitions and seminars must be held on a regular basis. An exposure to art brings forth critical thinking which is essential, especially to a student. The choice of venue for my current show also rests on this belief and it is heartening to see the favourable response from all quarters.
You have always been ahead of your times — a risky proposition but nevertheless, one that made you who you are today. Any words of advice to young artists?
It is true that envisioning something that has never been imagined before may have its share of uncertainties, but what is the point of doing what has already been done? Engaging in work constantly with passion and never comparing yourself with anyone nor following anyone, can see you through all insecurities. My favourite quote has always been, “The act of drinking beer with friends is the highest form of art”, by Tom Marioni. My advice to all young artists would be to find spaces for diverse conversations and daily practices like reading, working and writing. It opens your mind to infinite possibilities.