The debacle surrounding the postponement of KMB22 has opened my eyes to the way different people/stakeholders/artpeeps view large curated exhibitions.
The KMB Foundation/Board put their head in the sand regarding the ability to finish installing even a majority of the works in the show finely curated by Shubigi Rao and ultimately cancelled the opening of 3 venues particularly impacting Aspinwall House.
The artworld had all flooded into Kochi, and the last minute cancellation/postponement had them all a flutter. Annoyed. Pissed off. Vocal.
Although there were many other offerings and exclusive gatherings and satellite events and book launches, many could not be stopped by a half closed gate and insisted on traipsing through the mud, to pull protective plastic off works for a better instapic, and to insist on seeing incomplete installations. ” I am here. Show me.”
Artists were distraught their works were still in customs , projection rooms had no power, and the overall “picture” was dismal.
So to my point about viewing. When a show has a strong premise, and the positioning of works against or near each other is purposeful to allow alternate reading/ disussion, I myself follow the thought line for most enjoyment. I don’t cherry pick and rush to someone I know… this I can do in a white cube fair. Shubigi’s 3 years of planning should be acknowledged and explored, to my mind.
And so the light bulb moment was that for many artworld people, its a commercial contract. It’s money. It’s exposure. It’s being seen. It’s networking above all else, especially above the integrity of the artist.
** rant over **