Curator-director Siddharth Sivakumar speaks on the debut edit of Bengal Biennale
Once the epicentre of modern Indian art, Bengal has contributed immensely to our nation’s creative legacy, fostering two pivotal art movements. However, the landscape shifted post-1960s to Delhi, Mumbai, and other cities, that rose to prominence as the new cultural hubs. The debut edition of Bengal Biennale showcases Bengal as a dynamic and powerful force in the world of art. We spoke to Siddharth Sivakumar, curator-director at the biennale about the same.
How is Bengal Biennale different from other immersive art festivals?
At a very basic level, the fact that it is happening in Bengal makes a significant difference. Not too long ago, the idea of such an event seemed far from reality—not something I or anyone else might have imagined in the near future.
Why did you choose Kolkata and Santiniketan as locations?
While there are several centres of traditional art practices in Bengal, Kolkata and Santiniketan are home to two significant art movements—the Bengal School of Art led by Abanindranath and the contextually modern practice led by Rabindranath Tagore’s vision, respectively. Also, spreading out the Biennale, especially in the first year, could have been an insurmountable logistical challenge.
How did you design a contemporary outlook?
The contemporary outlook comes when you have ample representation of present practitioners and you are not taking a nostalgic drive with the masters that you choose to curate. For instance, when we are showing Abanindranath or Gaganendranath, it is to show how cross-currents were at play even between two siblings in the same household. While one is inspired by the stories of Arabian Nights, the other finds self-expression in Cubist experimentation.
The Biennale will be on until January 5, 2025.
