India's Biennale Effect : A politics of contemporary art
- Submitting institution
-
University of Southampton
- Unit of assessment
- 32 - Art and Design: History, Practice and Theory
- Output identifier
- 22590516
- Type
- B - Edited book
- DOI
-
10.4324/9781315413495
- Publisher
- Routledge India
- ISBN
- 9781138281332
- Open access status
- -
- Month of publication
- September
- Year of publication
- 2016
- URL
-
-
- Supplementary information
-
-
- Request cross-referral to
- -
- Output has been delayed by COVID-19
- No
- COVID-19 affected output statement
- -
- Forensic science
- No
- Criminology
- No
- Interdisciplinary
- No
- Number of additional authors
-
1
- Research group(s)
-
-
- Proposed double-weighted
- No
- Reserve for an output with double weighting
- No
- Additional information
- ‘India’s Biennale Effect’ is a collaboration between Manghani and Robert E. D’Souza, undertaken in the context of the Kochi-Muziris Biennale, India’s preeminent artist-led international biennale (est. 2012). It builds on the historical and political contextualisation of D’Souza’s article, ‘The Indian Biennale Effect’ (‘Cultural Politics’, 2013), which is greatly expanded in the development of the book. Led by Manghani’s editorship and curation of the project (which included D’Souza contributing as artist to the 2014 Biennale), the book contributes to key debates in biennale studies, the politics of contemporary art and curation, and place-making. It provides a complex account of the ‘effects’ on/from the Biennale, including the local and regional economy; the identity of Kochi as a locality; its history of radical political modernization; the turn towards a new internationalism through market liberalization (and subsequent rise of India’s contemporary art scene); and the growing critical discourse about a globalized biennale culture. Interviews conducted by the editors with notable contemporary Indian artists, Riyas Komu and Jitish Kallat, provide unique insight into the making of the Biennale, so advancing not just a discourse of biennales, but their practice. Manghani’s two solo-authored chapters advance an account of the wider ‘visual culture’, while his dialogue with Kallat provides a detailed reading of curatorship. As editor, Manghani worked alongside all of the contributors, a number of whom were not used to working in the academic idiom, but nonetheless possessed important knowledge and insights. This included working with a Delhi-based writer offering a long-view of India’s fractured modern-contemporary artscape; a young curator and art educationalist, who held detailed, anthropological insights regarding the concurrent student biennale (relating to India’s national network of art schools); and the curator of the Colombo Art Biennale (2014), who was able to contribute to the wider analysis of the South Asian region.
- Author contribution statement
- -
- Non-English
- No
- English abstract
- -