Preview: Kochi Muziris Biennale

The second edition of the Kochi Muziris Biennale, ... more

Photograph of Haleema Hashim being taken by her husband Hashim Usman, which forms a part of the partner show Ummijaan: Making Visible a World Within , which features private photos taken by Haleema of Gujarat’s Memon migrants to Kochi from the 1950s to the ’70s.
1/9Photograph of Haleema Hashim being taken by her husband Hashim Usman, which forms a part of the partner show Ummijaan: Making Visible a World Within , which features private photos taken by Haleema of Gujarat’s Memon migrants to Kochi from the 1950s to the ’70s.
An image from the exhibition Ummijaan: Making Visible a World Within. The Memon community which feature in these images track their origins to Sindh in present-day Pakistan. The photographer Haleema, who moved to Kochi post her marriage, started shooting women, children, and brides around her with a Yashika SLR that was gifted to her husband.
2/9An image from the exhibition Ummijaan: Making Visible a World Within. The Memon community which feature in these images track their origins to Sindh in present-day Pakistan. The photographer Haleema, who moved to Kochi post her marriage, started shooting women, children, and brides around her with a Yashika SLR that was gifted to her husband.
The 66 photographs in the exhibition Ummijaan: Making Visible a World Within were staged at Haleema’s house Yasmin Manzil. Ten years ago, though, she burnt all her negatives “to save space” since no one showed any interest in them.
3/9The 66 photographs in the exhibition Ummijaan: Making Visible a World Within were staged at Haleema’s house Yasmin Manzil. Ten years ago, though, she burnt all her negatives “to save space” since no one showed any interest in them.
Italian artist Francesco Clemente’s Pepper Tent (2014) at Aspinwall House, Kochi. The images on the tent range from pepper corns to stars to a sailing ship to a navigator dropping his anchor.
4/9Italian artist Francesco Clemente’s Pepper Tent (2014) at Aspinwall House, Kochi. The images on the tent range from pepper corns to stars to a sailing ship to a navigator dropping his anchor.
French-Algerian artist Kader Attia’s Independence Disillusionment (2014), a series of 26 paintings depicting stamps from African and Middle-East countries. Exploring the legacy of colonialism, Attia’s stamps show images of space shuttles and moon landings, reflecting their utopian dreams.
5/9French-Algerian artist Kader Attia’s Independence Disillusionment (2014), a series of 26 paintings depicting stamps from African and Middle-East countries. Exploring the legacy of colonialism, Attia’s stamps show images of space shuttles and moon landings, reflecting their utopian dreams.
Shanthamani Muddaiah’s Backbone (2014), a serpent-like installation in the form of a spinal column, a symbol for the artist of the forces that hold civilisations together.
6/9Shanthamani Muddaiah’s Backbone (2014), a serpent-like installation in the form of a spinal column, a symbol for the artist of the forces that hold civilisations together.
Chinese artist Xu Bing’s Background Story: Endless Xishan Mountain Scenery (2014). The artist replicates in shadows a landscape painting by Xu Ben who lived during the Ming dynasty. The original painting was created during the time when oceanic expeditions were being led to increase China’s trade.
7/9Chinese artist Xu Bing’s Background Story: Endless Xishan Mountain Scenery (2014). The artist replicates in shadows a landscape painting by Xu Ben who lived during the Ming dynasty. The original painting was created during the time when oceanic expeditions were being led to increase China’s trade.
A set of lithographs by Sudhir Patwardhan titled Encounters in Time (2014) that explore the twin impulses of migration and settlement.
8/9A set of lithographs by Sudhir Patwardhan titled Encounters in Time (2014) that explore the twin impulses of migration and settlement.
Dayanita Singh’s 1.9.2014 Dear Mr. Walter (2014), “a series of interconnected movements in life” built into 11 pillars and also including a few standalone images. Singh, this time, attempts to reinvent the space of photography as sculpture and architecture.
9/9Dayanita Singh’s 1.9.2014 Dear Mr. Walter (2014), “a series of interconnected movements in life” built into 11 pillars and also including a few standalone images. Singh, this time, attempts to reinvent the space of photography as sculpture and architecture.
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