Born in Kerala in 1963, Bose Krishnamachari studied at Sir J.J. School of Art, Mumbai, and then completed his Masters in Visual Art Theory and Practice from Goldsmiths College, University of London. An internationally renowned artist and curator of contemporary art, Bose is also a gallerist (Gallery BMB, Mumbai) and an art collector. In 2010, the Kerala State Government invited him to establish India’s first international biennale of contemporary art.
Bose has held solo exhibitions in India, UK, Europe, UAE and the US. He has curated numerous shows over the years, highlights of which include the seminal exhibition The Bombay Boys (2004), and the traveling project, Double-Enders (2005). He was also asked to guest curate the Indian Pavilion of ARCO-’09, Madrid.
His work, reinforced by a ‘here and now’ understanding and awareness of contemporary culture, borrows effortlessly from various disciplines, including literature and design, and time periods.
An iconoclast and protagonist of our time, Bose is known for promoting the emerging young talent of the next generation. He has been the recipient of many prestigious awards, including the Mid America Arts Alliance Award in 1996, the Charles Wallace India Trust Award in 1999 and the Kerala Lalitha Kala Akademi Award in 1985 and felicitated in 2009 with the Lifetime Fellow of Kerala Lalitha Kala Akademi. He is the Artistic Director and Co-Curator of India’s first Biennale – The Kochi-Muziris Biennale 2012, Director of Kochi-Muziris Biennale 2014 and President of the Kochi Biennale Foundation.
For an Image, Faster Than Light
The origin is the end, and the end is the origin. It is a circle. The distinction between the subtle and gross is in your ignorance. — Rabindranath Tagore
The world we now live in is broken. That is a given. We try to heal it with the written word. The written word, however, is an afterthought, because the word only gave form to the image. An image that was lit by the light of our consciousness. A light that was colourful enough to make us understand the difference between the state of red and green. Red, a state of dominance and Green, a state of acceptance. Yinchuan stands at the cusp of the fault-line of these two colors.
It is only natural that the Yellow river runs through it. Humanity on either side of the flowing water is aware of the impending doom that lies deep on the riverbed. It seeks the light that emanates within, waiting to be led from fear to freedom, chaos to order. In the search for modernity, mankind went astray in the here and now and left Truth by the wayside.
There is recourse to be found in ancient scriptures like in the line from the Indian Upanishads–Tamaso mā jyotir gamaya which pleads to be led from darkness to light, an elliptical flight that could take humanity back to its origins. That flight can be aided by the image in posterity, seen through the frosted glass on which soft fingers draw outlines to sift through the mist.
7th September,2016 14:30-16:30
Urban Songlines and the Art Practice Using New Media by Allard van Hoorn
8th September,2016 | 14:30 – 16:30
The Imaginge Homeland and the Void of Displacement in Boedi Widjaja’s works
10th September, 2016
Gate of the Sun
Between the Mountain and the River
Conference Convenor: Manoj Nair
Gate of the Sun Between the Mountain and the River