{"id":2401,"date":"2026-01-14T09:46:21","date_gmt":"2026-01-14T09:46:21","guid":{"rendered":"https:\/\/www.theartsgazette.com\/?p=2401"},"modified":"2026-01-24T09:49:08","modified_gmt":"2026-01-24T09:49:08","slug":"kochi-biennale-co-founder-leaves-the-show","status":"publish","type":"post","link":"https:\/\/www.theartsgazette.com\/index.php\/2026\/01\/14\/kochi-biennale-co-founder-leaves-the-show\/","title":{"rendered":"Kochi Biennale Co-Founder Leaves The Show"},"content":{"rendered":"<p>[vc_row][vc_column]<p><em>Bose Krishnamachari, co-founder of Kochi Biennale. Image courtesy: Wikipedia, CC BY SA 3.0\/ Fotokannan<\/em><\/p>\n<div class=\"empty-space marg-lg-b10\"><\/div>\n<p>Bose Krishnamachari, one of India\u2019s most well-known artists who co-founded the highly successful Kochi-Muziris Biennale, resigned as the president of the biennale and as member of the board of trustees of the Kochi Biennale Foundation, citing \u201cpressing family reasons.\u201d<\/p>\n<p>He resigned on January 14, 2026, Wednesday, barely a month after the 6th edition of the Kochi-Muziris Biennale opened in Kochi on December 12, 2025. <\/p>\n<p>It came as a great surprise to all members of the art fraternity as Krishnamachari resigned in the middle of the ongoing, successful biennale; this edition o the biennale runs through March 31, 2026.<\/p>\n<p>With Krishnamachari\u2019s exit, the Kochi-Muziris Biennale is now left without its two co-founders; the other co-founder, artist Riyas Komu had resigned in 2018 following #MeToo allegations. Krishnamachari and Komu had jointly founded the biennale and co-curated it\u2019s inaugural edition in December 2012.<\/p>\n[\/vc_column][\/vc_row]<\/p>\n","protected":false},"excerpt":{"rendered":"<p>The Indian art market\u2019s fascination for modern works of art produced in the Fifties and Sixties bring into focus the richness and depth of Indian art in that period<\/p>\n","protected":false},"author":1,"featured_media":2402,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[13],"tags":[46],"class_list":["post-2401","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-teal","tag-news"],"_links":{"self":[{"href":"https:\/\/www.theartsgazette.com\/index.php\/wp-json\/wp\/v2\/posts\/2401","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.theartsgazette.com\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.theartsgazette.com\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.theartsgazette.com\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.theartsgazette.com\/index.php\/wp-json\/wp\/v2\/comments?post=2401"}],"version-history":[{"count":2,"href":"https:\/\/www.theartsgazette.com\/index.php\/wp-json\/wp\/v2\/posts\/2401\/revisions"}],"predecessor-version":[{"id":2404,"href":"https:\/\/www.theartsgazette.com\/index.php\/wp-json\/wp\/v2\/posts\/2401\/revisions\/2404"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.theartsgazette.com\/index.php\/wp-json\/wp\/v2\/media\/2402"}],"wp:attachment":[{"href":"https:\/\/www.theartsgazette.com\/index.php\/wp-json\/wp\/v2\/media?parent=2401"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.theartsgazette.com\/index.php\/wp-json\/wp\/v2\/categories?post=2401"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.theartsgazette.com\/index.php\/wp-json\/wp\/v2\/tags?post=2401"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}