Abstract
This article employs artifacts from the KMB’s “material culture” as a lens into this institution’s branding process and, within it, its interaction with the Venice Biennale. It analyzes larger questions about the career of the biennale cultural form as it re-territorializes in a new location that is added to the art world map “in progress.” Historically, geographical location has been crucial for many biennales in the Global South to articulate their origin, identity, and claims vis-à-vis the global art world. Moreover, biennale proliferation especially in the South has produced cartographic re-imaginings aiming to destabilize the “center-periphery” configuration of the art world map. The article shows that the KMB does not reiterate ideological standings put forward by Southern biennales but crafts its positionality on different grounds. These entail simultaneously anchoring the KMB to histories of circulation in and out of South India tracing back at least two millennia and strategically weaving a relation with the archetypical Venice Biennale in the present.
Acknowledgements
I wish to express my immense gratitude to the Framing the Global initiative and to all who are part of it for providing a precious intellectual space that, over the years, has led to a radical transformation of my scholarly identities and practices. Concerning this article, I am extremely grateful to Hilary E. Kahn, Jonathan Larson, Zsuzsa Gille and the reviewers for their invaluable questions, comments and suggestions as well as their care and patience that have made the (re)writing process a very fertile and safe space.
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© 2020 Walter de Gruyter GmbH, Berlin/Boston
Artikel in diesem Heft
- Frontmatter
- Articles
- Un-Framing and Re-Framing the Global: An Introduction
- Contesting Hyperglobal Framings: An Analytical Approach
- Grasping Terroir while Teaching Online: Resituating the “Field” in Pedagogies of the Global
- Oriental Sensitivity: Towards a Poetics of Global Studies
- On Global Plasticity: Framing the Global Through Affective Materiality
- Art and Global South: “Playing Venice” at the Kochi-Muziris Biennale (KMB)
- Framing the Material Global: The Grounded Politics of HIV Testing Scale-Up
- Review Essay
- William Rankin: After the Map: Cartography, Navigation, and the Transformation of Territory in the Twentieth Century
- Book Reviews
- Walter Mattli: Darkness by Design: The Hidden Power in Global Capital Markets
- Bartolomé Yun-Casalilla: Iberian World Empires and the Globalization of Europe 1415–1668
- Hassan Malik: Bankers & Bolsheviks: International Finance & The Russian Revolution
Artikel in diesem Heft
- Frontmatter
- Articles
- Un-Framing and Re-Framing the Global: An Introduction
- Contesting Hyperglobal Framings: An Analytical Approach
- Grasping Terroir while Teaching Online: Resituating the “Field” in Pedagogies of the Global
- Oriental Sensitivity: Towards a Poetics of Global Studies
- On Global Plasticity: Framing the Global Through Affective Materiality
- Art and Global South: “Playing Venice” at the Kochi-Muziris Biennale (KMB)
- Framing the Material Global: The Grounded Politics of HIV Testing Scale-Up
- Review Essay
- William Rankin: After the Map: Cartography, Navigation, and the Transformation of Territory in the Twentieth Century
- Book Reviews
- Walter Mattli: Darkness by Design: The Hidden Power in Global Capital Markets
- Bartolomé Yun-Casalilla: Iberian World Empires and the Globalization of Europe 1415–1668
- Hassan Malik: Bankers & Bolsheviks: International Finance & The Russian Revolution