It was at a grand party in Delhi’s swanky, but hidden from view, Indigo on Golden Mile that artist-curator Sudarshan Shetty, 54, had his first formal outing as the curator of the next Kochi Muziris Biennale (KMB). A globally-renowned multidisciplinary artist with many solo and group exhibitions under his belt, Shetty has the distinction of being the only Indian commissioned to create a public sculpture in Japan. The shy and reticent Shetty did not say much to the gathering at Indigo, even as they strained to catch his every word as it wafted over the general hubbub. We cornered him later for a sneak peek into the things to come at the next KMB.

How did you become the curator of the next Kochi Muziris Biennale in December 2016?

Well, I was approached by the director Bose (Krishnamachari) and secretary Riyas (Komu) of the KMB, and screened by the 10 members on their advisory board. The board comprises Bharti Kher, Atul Dodiya, Amar Kanwar, Ranjit Hoskote, Kiran Nadar, Jyoti Basu and gallerist Shireen Gandhy, to name a few. I am excited, honoured, and surprised that I have been chosen to curate the next Biennale.

Have you curated before?

No, this will be my first-ever curation and, frankly, it is going to be a big learning experience, which I am really looking forward to.

As a policy, only artists can be curators of the KMB. Do you feel that artists look at things differently from, say, people who engage with art theory?

I think, when KMB first happened on December 12, 2012, Bose and Riyas envisioned it as something that was driven by artists, for artists, which is why there was this emphasis on having only artists as curators. It was definitely intended to bring a different sensibility to curating, because artists will see curation through their own practice as artists. At least that is how I am approaching it, and I think that is how the previous artist-curators have approached it. Your concerns in your practice often define your concerns as a curator. I also see myself open to suggestions and collaborations.

So how do you, as an artist, see what you are doing differently from a regular curator and also the curators who came before you, like Jitish Kallat, Bose and Komu?

Well, the intention is not to be different for the sake of being different. As I mentioned, I am guided by my own multidisciplinary practice as an artist, which has always been informed by other art disciplines like music, theatre and cinema. As a curator I intend to bring these disciplines into conversation with each other. I see myself as bringing together the different streams and tributaries to make a river that will finally flow out to the sea. I use these metaphors because of the maritime nature of Kochi as an important port of call; there is the great historic past of Kochi and the contemporary life that informs my practice, and that is guiding my decisions as a curator.

How are you drawing in these different influences?

Currently I have travelled to seven different cities in two weeks and it’s quite mind-boggling. I have been to Brazil in South America and five cities in Europe, exploring what informs their curatorial practices. Travel is always the best exposure. I am also speaking to people from different streams in India, but I would not mention names yet since it’s in very nascent stages.

How do you feel about support and intervention from the government, which has been a bit of a controversial area for the KMB?

We would only welcome the involvement of the state government; their support and encouragement in an event like the KMB is crucial. I hope that they will continue to support us, and not just financially but in spirit. In fact, we have had very positive feedback from Minister for Culture KC Joseph. He went on record to say that the KMB has contributed to Kerala’s culture, tourism and hospitality industries and renewed India’s cultural position in the world.

Are you at all worried that the Government in general seems to be a bit hostile towards the art and culture institutes, what with the current agitations at the Delhi College of Art and the Film and Television Institute of India?

On a personal level my sentiments lie with the students, I support them in their demands and I am totally sympathetic to their cause. However, as the curator of KMB I have to do a balancing act and be more diplomatic to iron out the creases and overcome any hurdles that we may encounter during our process of setting up the KMB.

Finally, where do you see the KMB going?

I see it as an international venue for arts and ideas where one can look forward to it becoming an important event, not just nationally but also on the international art calendar; through just two biennales, the KMB has acquired the role of one of the most important exhibitions globally.

Georgina Maddox is a Delhi-based art writer

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