Cover image: Scenes from the Passion: Late, 2002 (Detail) by George Shaw. Humbrol enamel on board 91 x 121 cm Tate Collection. Presented by the Patrons of New Art (Special Purchase Fund) through the Tate Foundation, 2003. Copyright the Artist. Courtesy Wilkinson Gallery, London. (From: Cultural Politics 9.3 Special Section on Affective Landscapes)
Announcing the publication of the November 2013 of Cultural Politics with a Special Section on Affective Landscapes.
Table of Contents, Volume 9, Number 3, November 2013
Read The Indian Biennale Effect by Robert E. D'Souza, offered open access, courtesy of Duke University Press:
The Kochi-Muziris Biennale 2012
By Robert E. D'Souza
The Kochi-Muziris Biennale, the most recent global art biennale, was launched in Kochi in the state of Kerala, India, in 2012. This essay considers the “biennale effect,” locating it within India's recent history of radical political modernization and in the context of the state's attempts to establish itself in terms of internationalism and contemporaneity via the arts. Pivotal to this discussion of the biennale effect is the recognition of a growing critical discourse about the biennale format by scholars, critics, and curators. The impact of the Indian biennale on the formerly Communist city of Kochi is also explored, including photographic documentation by the author, in the context of the contradictions and paradoxes raised by India's hosting of this global art event.
Robert E. D'Souza is an artist, designer, and Head of School of Winchester School of Art, University of Southampton. His multidisciplinary practice encompasses a research agenda that lies in the cross-cultural interactions and overlapping areas of visual art, cultural study, and social science. His most recent publication Outside India: Dialogues and Documents of Art and Social Change (2012) considers artworks from his exhibition Outside India at W+K Exp Gallery in Delhi against a recent history of social and economic change in India, both in terms of the forces of globalization and its effects on culture and in relation to the contemporary Indian art scene prior to the launch of the Kochi-Muziris Biennale.
An ARCHIVE of artist contributions can be accessed at CulturalPolitics.org