March 29, 2019

Jury declares 3 international, 1 national honour as a part of the Tata Trusts Students’ Biennale Awards

Kochi, March 29: The third edition of Students’ Biennale concluded with the announcement of its winners today at the closing ceremony of Kochi-Muziris Biennale 2018. The awards, instituted by Tata Trusts and the Kochi Biennale Foundation (KBF), honour the participants for their excellence in art practices.

The Students’ Biennale awards, instituted by Tata Trusts, were introduced for the first time in the 2016. They present the opportunity for emerging student artists to get exposed to international exhibition-making and to develop their own projects via a residency format.

Three were selected as the recipients for the Tata Trusts Students’ Biennale International Award, while 11 students from University of Kashmir won the Tata Trusts Students’ Biennale National Award. The award jury comprised KBF president Bose Krishnamachari, Tata Trusts (Head- Arts & Culture) Deepika Sorabjee and artist-filmmaker K M Madhusudhanan.

The three artists selected for the Tata Trusts Students’ Biennale International Awards are Umesh Singh (Uncomfortable Tools and Jaab (muzzle); Maksud Ali Mondal (Nature Unconditioned) and Akanksha Agarwal (A Palm tree on a Pedestal, Ha..ha..a flower behind too).

The 11 students selected for the Tata Trusts Students’ Biennale National Award are Tabeena Wani (Untitled); Saba Altaf (Home); Zaid Bhat (Building, dwelling, thinking); Owais Ahmed (Memory for Forgetfulness); Ushmayo Dutta (Pursuit of home); Ahamad Muzamil (Massacres and Home); Numair Qadri (The story and claims); Anis Wani (Jannat e benazeer); Arona Riyaz (Memory); Mir Lateef (Pulhoor and Kashmir – A political Study); and Asif Haneef (Untitled).

Krishnamachari, talking about the importance of Students’ Biennale and the honours, said the 2010-founded KBF always gave importance to art education. “We believe in providing an internationally-recognised platform for art students and giving them an opportunity to experience firsthand making of an art show of a large extend,” he noted. “We are really happy with the kind of participation and works we witnessed in this year’s Students’ Biennale.”

Sorabjee spoke highly of the students’ deep engagement with the materials used, revealing that it played a key role in the jury’s selection. “The concept in the translation of their ideas (using the small production grants given this year) into works that carried their roots, coming as they did from different parts of the country, to the site” was particularly noticed, she added.

For instance, “Umesh’s use of cyanotype prints of the farmers juxtaposed with the sculptural works produced from diseased bark and discarded tools, while Maksud’s confidence in working with organic material that, in decay, left evocative ‘drawings’ in growth. Akanksha’s scale and formalism in papier mache, all responded to the ‘Making as Thinking’ curatorial brief refreshingly,” she said.

The 11 students from University of Kashmir “evoked chinar leaves and phirans, homes and family into works in different mediums that individually conveyed their singular stories of memory and belonging”. They “collectively spoke of a land that remains in the transition of political solution even as its humanity bears mute witness to irrecoverable loss. We hope the travel and residencies will give greater wings to their ideas in years to come. Congratulations to them all.”

Launched in 2014, and supported by Tata Trusts in 2016 and now in 2018, the Students’ Biennale is an educational initiative that provides an international platform for BFA and MFA students to produce, exhibit and reflect on their works. This time, the project was led by a team of six curators around the theme of ‘Making as Thinking’. More than 100 artworks were produced by over 250 students selected via an open call from across 50 art colleges and institutes in India.

This edition saw the inclusion of an Expanded Educators Program and production grants given to students following a selection from an open call. Continuous practice-based interventions in art pedagogy can lead to an increase in the standard of practice and the exhibitory platform at Kochi allows for scale and quality in works executed, at a national level for young, emerging Indian artists.

About Tata Trusts:
Since inception in 1892, Tata Trusts, India’s oldest philanthropic organization, have played a pioneering role in bringing about an enduring difference in the lives of the communities they serve. Guided by the principles and the vision of proactive philanthropy of the Founder, Jamsetji Tata, the Trusts’ purpose is to catalyse development in the areas of healthcare and nutrition, water and sanitation, education, energy, rural upliftment, urban poverty alleviation, and arts, craft and culture. The Trusts’ programmes, achieved through direct implementation, partnerships and grant making, are marked by innovations, relevant to the country. For more information, please visit http://tatatrusts.org/

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