Home Is Everywhere

FOREIGNERS EVERYWHERE WAS the theme of the 60th Venice Biennale. I am taking off from this theme curated by Adriano Pedrosa, the Brazilian curator. I was delighted to see two Indian artworks at the opening hall of the Central Pavilion of the 2024 Venice Biennale. The works of geometric abstraction of one of India’s greatest modernists Sayed Haider Raza and the tapestry maker Monika Correa.

Alongside these works, Foreigners Everywhere marks the historic inclusion of 12 Indian artists, a record for the Biennale. Iconic figures like Amrita Sher-Gil and SH Raza stand alongside contemporary voices like Correa and the Aravani Art Project. The Indian diaspora is well-represented with artists like Bhupen Khakhar, Ram Kumar and Jamini Roy emphasising the global relevance of Pedrosa’s theme.

I was also thrilled to view some rare portraits painted again by modern Indian masters like Jamini Roy, Ram Kumar, and Francis Newton Souza hung alongside works of renowned Mexican artists Diego Rivera and Frida Kahlo. This juxtaposition of celebrated artists from India and Mexico was a powerful statement, reflecting the broader theme of the Global South. The exhibition challenged Eurocentric perspectives, offering an opportunity to ‘unthink’ the traditional dominance of Western art. In this dialogue, India plays a crucial role, representing the cultural and artistic powerhouses of the Global South in reshaping global narratives.

The 60th edition of the Venice Biennale is an important example of the global inclusion of India. Pedrosa has opened an important trajectory of a non-Eurocentric journey, which is moving towards the Global South.

The Global South refers to a collec­tive of countries, primarily situated in the Southern hemisphere, that have historically been marginalised within global political and economic systems.

This concept extends beyond geograph­ical boundaries to encompass cultural, social, and economic dimensions. Typically associated with developing or emerging economies, the Global South includes nations that share common experiences of colonialism, economic exploitation, and social inequality.

As the cultural dynamics evolve, Indian artists are bringing unique, often marginalised perspectives to global conversations on identity, post-colonialism, and social justice. India’s rich heritage, combined with contem­porary issues like migration, climate change, and gender, are being show­cased at major international exhibitions and biennales. The globalisation of Indian art can be traced back to pioneers such as MF Husain, SH Raza, and Tyeb Mehta, who were part of the Pro­gressive Artists Group in the mid-20th century. SH Raza, who settled in Paris in 1950; and Zarina Hashmi, known for her printmaking, exemplify the Eurocentric trend. Other prominent artists like Paris Viswanathan, Bhavani Katoch, Avinash Chandra, Sakti Burman and Akkitham Narayanan made a global impact. The Eurocentric focus on art has historically positioned cities like Paris, New York, and Berlin as global hubs for artistic expression. These Indian artists have journeyed to these metrop­olises and have created temporary or permanent residences over there. They explored and adapted various European art movements, leading to a dynamic interplay between Eastern and West­ern aesthetics. For instance, artists like Amrita Sher-Gil and FN Souza made significant impacts in Paris and London, respectively, by integrating their cultur­al heritage with contemporary styles.

In 2023, Lesley Lokko, an architect and writer with a Ghanaian father and a Scottish mother, was appointed curator of the 18th International Architecture Exhibition, titled The Laboratory of the Future. Pedrosa, curator of the Biennale Arte 2024, the 60th International Art Exhibition of Venice, is the director of the Museu de Arte de São Paulo (MASP) and the first Biennale Arte curator from Latin America. Both curators represent influential Global South countries but for different reasons. Venice Biennale president Roberto Cicutto selected Lokko for her background, viewing Africa as a “laboratory of the future” for addressing critical issues like decolonisa­tion and decarbonisation, and bringing less heard voices to the forefront.

The title Foreigners Everywhere im­mediately reflects Pedrosa’s intention to elevate the voices of marginalised and historically overlooked artists. His exhibition aims to connect not only lesser-known cultural perspectives but also individuals who have historically felt like outsiders. Pedrosa presents a curatorial vision shaped by his own experiences and cultural background, resonating with artists who navigate complex diasporas and societal norms. His approach offers a journey into the beauty of art while addressing ethical and social issues, highlighting how creativity emerges from feelings of displacement and marginalisation.

A key component of Pedrosa’s vision is the inclusion of Indian artists, which reflects a broader exploration of post-colonial identities. Indian artists, representing the Global South, are central to the exhibition’s theme of elevating voices treated as ‘foreigners’ in their own lands, such as indigenous and queer communities. With its deep colonial history and vibrant contempo­rary art scene, India fits naturally into this framework. By featuring Indian art, Pedrosa draws attention to the fluidity of identity and the intersections of mi­gration, culture, and politics. This pres­ence not only challenges Eurocentric narratives but also contributes to a more inclusive understanding of modern and contemporary art.

In addition to inclusivity, Pedrosa places a strong emphasis on sustainabil­ity. Like some of his predecessors, he is committed to ensuring that La Biennale maintains its “carbon neutral” certi­fication, which has been achieved for the past two years. This is a significant accomplishment for Venice, a city that faces many environmental challenges. The widespread support for Pedrosa’s sustainability-focused theme from participating countries underscores his ability to tap into shared global concerns, further expanding the relevance of the exhibition.

Pedrosa’s curatorial inspiration comes from the Paris-born collective Claire Fontaine, whose neon sculp­tures feature the phrase ‘Foreigners Everywhere’ in over fifty languages, both Western and non-Western. These sculptures, originally inspired by a Turin-based collective addressing racism and xenophobia in Italy, can now be seen in Venice.

At the Giardini where the official pavilions are placed, I would like to focus on the three award-winning pavilions at the 2024 Venice Biennale, the national pavilions of Australia, Egypt, and Great Britain each presented thought-provoking works that delve into themes of identity, history, and collective memory.

AUSTRALIA KITH AND KIN

Curated by Ellie Buttrose and created by Archie Moore, the Australian Pavil­ion’s exhibition Kith and Kin explores Moore’s Kamilaroi/Bigambul lineage through an expansive chalk mural. It highlights the rich heritage of First Nations peoples over 65,000 years, while addressing the disruption of Indigenous familial ties due to coloni­sation and systemic injustices, includ­ing high incarceration rates. A central reflection pool symbolises the void left by deaths in custody, surrounded by archival materials illustrating the trag­ic consequences of colonial policies. Moore critiques historical narratives, emphasising interconnectedness among all people.

EGYPT DRAMA 1882

In the Egyptian Pavilion, Wael Shawky presents Drama 1882, an epic musical film that reenacts Egypt’s Urabi Revolution of 1882. Known for his reinterpretations of historical events, Shawky employs a highly choreo­graphed, stylised approach to examine how national and religious identities are shaped. By recasting historical events such as the bombardment of Alexandria and the Battle of Tel El Kebir, Shawky’s work challenges view­ers to rethink the way history is docu­mented and retold. Through the lens of Egypt’s nationalist uprising against British colonial forces, Shawky delves into the subjective nature of historical records, blending mythology, film, and performance to offer a nuanced view of Egypt’s colonial past.

GREAT BRITAIN LISTENING ALL NIGHT TO THE RAIN

John Akomfrah’s Listening All Night to the Rain, showcased in the British Pavilion, explores memory, climate change, and post-colonialism through multimedia. Using water as a motif, the installation connects narratives across continents and addresses ecological concerns. Akomfrah employs sound and visual storytelling to promote listening as activism, reflecting on his­torical narratives shaped by migration and imperialism. This non-linear, col­lage-like approach invites audiences to engage with themes of racial injustice and colonialism’s enduring impact.

OUT OF THE 300 EXHIBITIONS on display at Venice, I could barely see 40 in the eight days I was there literally viewing three to four exhibitions in an individual manner from 11am to 7pm daily. One day went in the Giardini, seeing the official entries and the second day at the Arsenale. Another half day went into viewing Homo Faber which for me was an important viewing.

That left me with just four and a half days to view all the collateral events of which the Rooted Nomad, Cosmic Garden and Shahzia Sikander’s Collective Behavior were an absolute must.

The cherry on the cake was a meeting with the Pakistani- American artist Sikander whose work was installed in the magnificent Palazzo Van Axel Venezia. Her exhibit Collective Behavior traced the evolution of her work since The Scroll, featuring new site-specific pieces that engaged with the location’s architecture and Venice’s global trade history, organised around her core themes rather than a chronological timeline.

The Echo at the National Pavilion of Armenia, by artist Nina Khemchyan, blended Medieval Armenian heritage with contemporary spirituality. It featured eleven blue ceramic spheres adorned with golden texts from fifth-century Armenian chants, inspired by her collaboration with singer Hasmik Baghdasaryan-Dolukhanyan. This fusion of sculptures and live cappella performances transform spiritual words into tangible art. Ad­ditionally, Khemchyan’s Seven Deadly Sins, a 50-metre paper roll, invites moral reflection, enhancing the exhibition’s contemplative theme.

Another notable collateral event at the 2024 Venice Biennale was Zeng Fanzhi’s Near and Far/Now and Then, which featured the renowned Chinese artist’s fusion of Eastern and Western landscape traditions in a near-pointillist style. Hosted in Scuola vecchia della Misericordia, a former charity building in Venice, architect Tadao Ando transformed the space into an immersive experience, with large multi-panel oil paintings and thematic sections that enhanced the exhibition’s emotional resonance, making it a high­light of the Biennale.

The Rooted Nomad presented by the Kiran Nadar Museum, brought alive the world of one of our greatest modernists, Maqbool Fida Husain—as part of the collateral event on the island—had a collection of some 160 rare works by Husain and offered an awesome immersive experience.

On the other side of the canal was yet another Indian gem, the Cosmic Garden, stunning embroidery executed by the Chanakya School of Craft and Karishma Swali, based on the paint­ings of Madhvi and Manu Parekh. The Cosmic Garden presented yet another facet of India’s cultural diversity and the creative genius of a woman who never went to an art school but could hold her own with some of the most powerful imagery from across the globe.

I have been visiting the Venice Biennale regularly since 1999, with unfailing regularity and following the curatorial visions of curators from Harald Szeemann’s pioneering dApertut­to (everywhere) in 1999 and 2001, setting a high standard for experimentation to Francesco Bonami’s 2003 theme, Dreams and Conflicts: The Dictatorship of the Viewer, that delved into the complex­ities of viewer interaction with art. In 2005, the Biennale saw dual curations by two women for the first time, María de Corral’s introspective The Experience of Art and Rosa Martínez’s more outward facing Always a Little Further. Robert Storr in 2007 urged me to Think with the Senses, Feel with the Mind, while Daniel Birnbaum in 2009 focused on creative processes with Making Worlds. Bice Curiger’s 2011 ILLUMInations brought light to art as a source of intellectual and spiritual energy. Massimiliano Gioni in 2013 built The Encyclopedic Palace, exploring the human desire to accumu­late knowledge. The Nigerian curator, Okwui Enwezor’s powerful 2015 edition, All the World’s Futures, addressed socio-political upheavals, followed by Christine Macel’s 2017 life-affirming Viva Arte Viva, a tribute to the essence of creation. Ralph Rugoff’s 2019 edi­tion, May You Live in Interesting Times, prompted reflection on uncertainty in the modern world. Most recently, Cecilia Alemani’s 2022 The Milk of Dreams based on a book by British-born Mexican surre­alist painter Leonora Carrington took me on a fantastical journey, focusing on transformation, imagination, and the body. With Pedrosa’s latest concept of 2024 Foreigners Everywhere, which exam­ined themes of migration and identity, I witnessed another boundary-pushing exploration of art’s role in the world.

From the very Eurocentric concerns since the turn of the millennia to present times, the Venice Biennale stands as a keeper of changing politics, art making, materiality and the concerns of contem­porary world politics.

( The 60th Venice Biennale runs till November 24)

Aravani Art Projectartart ExhibitionB PrabhaBhupen KhakharFrancis Newton SouzaRam KumarThe 60th Venice Biennale