Krispin JosephPX

The Panjeri Artists’ Union is an anti-caste art collective based in Banipur, West Bengal, through their project, ‘Assemblies of Hope Amidst the Death-Worlds: A 100-Day Work Proposition’, which is a central highlight of the 6th Kochi-Muziris Biennale (2025–2026). This project, set up at the front of the main venue, Aspinwall House, is an ‘assemblage’ that

At the 6th Kochi-Muziris Biennale (2025–26), Indonesian artist Jompet Kuswidananto presents ‘Ghost Ballad,’ a site-specific installation at Pepper House, marking the journey from dictatorship to democracy and bringing together once-thriving, banned music and performances. The work uses his signature objects of ‘bodiless’ figures to gather the fractured chronology of Indonesia, acting as a bridge between

The installation “Parliament of Ghosts” by Ibrahim Mahama, displayed at the Kochi-Muziris Biennale, offers reflections on the politics of space, with its colonial undertone. Mahama’s work, which uses stitched jute sacks and chairs, portrays hidden chronologies of trade, labour, and colonial power. At the Biennale, Mahama transforms a room at Anand Warehouse, a colonial-era godown,

The works in the Rinascimento series by Argentinian artist Adrian Villar Rojas, exhibited at the Kochi-Muziris Biennale, remind one of Barbara Kruger’s famous phrase, ‘I shop, therefore I am.’ If Barbara’s work can be seen as a parody or a comic version of René Descartes’ statement, ‘I think therefore I am,’ which overturned the stream

When observing Nityan Unnikrishnan’s artworks displayed at Kochi Muziris Biennale, Deleuze’s phrase ‘To be fully a part of the crowd and at the same time completely outside it, removed from it’ comes to mind. What Deleuze means is not to avoid or withdraw from the crowd, but rather, philosophically, to respond to it. It calls

The paintings from Smita M. Babu’s series ‘Pakalam’, exhibited at the Kochi-Muziris Biennale, traverse the geographical peculiarities of the Ashtamudi Lake shore in Kollam, a region with numerous unique characteristics. Smita’s works, which hint at various aspects related to the coir industry, including occupations, history, and traditions, stand as a testament to how an artist

Art is multiplicity; it is multidisciplinary, interdisciplinary, and intersubjective; therefore, it is impossible to define what art is. Art implies many things, and so is the artist. When the contemporary world suggests that art is a product of capitalism, the art life of Shilpi Rajan testifies that art is also ‘socialism,’ or at least an

There is always a heavy weight to thoughts and news about and from Kashmir. There is always an undercurrent of sorrow and severe conflicts in it. That undercurrent is the hallmark of the artworks of the Kashmiri artist Moonis Ahmad Shah, displayed at the Kochi Muziris Biennale. Moreover, Moonis Ahmad Shah’s world of art also

Artist Ali Akbar’s works, exhibited as part of the curated show at the ongoing 6th edition of Kochi Muziris Biennale, are entirely contemporary in nature, posing questions while also advancing the Biennale’s mission and challenging the legacy of colonialism through a visual dialogue. These works directly and indirectly pose a multitude of questions to the