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