Discover the Chennai Photo Biennale: Your Ultimate Guide to a Three-Month Photography Extravaganza!

The creation of a biennale embodies various forms of disorder. Just a week ago, scaffolding, piled prints, and a reliable measuring tape were the only indicators of the preparations for the current fourth iteration of the Chennai Photo Biennale (CPB). However, today, an elderly lady with a flowing braid strides directly into VR mall’s temporary exhibition space, which was once a 2,800 sq ft grey, rusted retail area, to gaze intently at Chennai-based photographer Aishwarya Arumbakkam’s unconventional portraits — featuring hair, some intricately braided, others fashioned into extravagant buns, and some simply a chaotic arrangement. She departs with lingering curiosity. Perhaps, her braid now feels acknowledged.

Aishwarya is one of 12 intriguingly inquisitive, promising Tamil photographers showcased in the exhibition Vaanyerum Vizhuthugal (translated as roots that reach the sky) which ignites this three-month celebration of photography. This aligns with a collection of artists from around the globe, who delve into how women relate to their immediate environments through photography, in a second exhibition titled It’s time. To see. To be seen. CPB commences with these two main indoor showcases.

One of the most significant inquiries confronting the digital age today is, ‘why take photographs?’ At a moment when every waking second is captured either voluntarily or involuntarily, the art of photography finds itself in the midst of an existential dilemma. The vast number of images that permeate one’s daily existence today, paired with the emergence of AI and its impact on art, frequently prompts this question: what awaits the future of photography? CPB’s fourth edition positions itself at this intersection, referencing Dayanita Singh’s ongoing investigation #whyphotograph?

“Each edition is a complete experiment that upends the previous one,” states Varun Gupta, managing trustee of CPB. The initial event was merely a collection of passionate creatives collaborating to realize a dream. “Edition 2 is when we matured, with [curator Pushpamala] encouraging us to reevaluate what photography signifies,” Varun reminisces. To this day, the stained windows of the Senate House evoke memories of a fledgling biennale. Conversely, Edition 3 was ensnared in the complexities of the pandemic — “so intellectually profound and critically engaging,” notes Varun.

Farheen Fatima’s series titled Meet Me in the Garden
| Photo Credit:
special arrangement

This time around, however, while a critical perspective exists, the biennale aimed to embody optimism, perhaps to lift the oppressive shroud that often cloaks critically acclaimed art, adds Varun from Lalit Kala Akademi. Echoing this sentiment, behind him stands Bengaluru-based photographer Indu Antony’s eccentric work, Cecilia-ed, which examines gendered environments by featuring her vibrant, unconcerned 75-year-old friend, Cecilia, adorned in sequined gowns and stilettos radiating ‘main character energy’.

Throughout the years, Varun expresses that they have matured as well. “One of the primary critiques received in 2019 was that while we showcased the world’s finest talents, where was the representation of local artists?” The challenge lay in curating a show that resonated not only with the local audience but also the broader art community. Therefore, this year, the biennale commenced with Vanyerum Vizhuthugal, curated by Jaisingh Nageswaran, wherein photography transcends traditional norms and linear approaches. Jaisingh describes it as the “Tamil new wave.” This exhibition aimed to bridge the gap between lived experiences and visual storytelling, shares Jaisingh. “The necessity for a show that narrates stories from an internal perspective was intensely felt,” he elaborates.

Vivek Mariappan’s As Close As It Gets
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VIVEK.MARIAPPAN

While the exhibition encourages reflection, back in Lalit Kala Akademi’s newly refurbished first floor, is a talented collection of photographers who consciously or unconsciously challenge the label that often invites scorn: ‘women artists’. Shuchi Kapoor, founding trustee of CPB and curator states, “It’s 2024, there are numerous women who have contributed to the broader spectrum of photographic practices and each of them involves visuals. One central theme was to investigate the role of placemaking to comprehend the spaces where women are asserting their presence.”

Since this edition centers around posing questions, this exhibition has also emerged from inquiries. In Farheen Fatima’s Meet Me In The Garden, a series of photographs interwoven with digital illustrations, whimsical, almost surreal frames capture the yearning that humans possess for gardens. Nony Singh’s seldom-seen, spontaneous images trace the development of a family narrative tinged by the Partition.

FastForward Collective’s Placing Ourselves in the Frame

All of this constitutes Phase 1. 

Phase 2 is denser and transitions outdoors with photographer Sunil Gupta’s retrospective, Love and Light, curated by Charan Singh, across the Government Museum, Egmore grounds. In addition, 20 photography projects featuring children curated by Chennai Photo Biennale Foundation and the Children’s Photography Archive, UK, will envelop the Museum grounds alongside interactive installations. Meanwhile, Thiruvanmiyur MRTS will provide a glimpse into some seldom-seen photographs from Tamil cinema’s on-set past, sourced from photographer and archivist Lakshmikantan.

This occasion included an open invitation that garnered 1,900 submissions from 43 nations. As the biennale continues to expand, what implications does it have for Chennai? The momentum is evident, shares Varun. “Through the act of being present and offering such experiences, CPB has played a role in an artistic movement that is currently observable among emerging artists in the city,” asserts Varun.

Chennai Photo Biennale is produced in collaboration with The Hindu Made of Chennai. Vanyerum Vizhuthugal is showcased at VR Mall. It’s time. To see. To be seen is exhibited on First Floor, Lalit Kala Akademi. Phase 1 of CPB is currently in progress; Phase 2 will commence on January 17, 2025. The biennale concludes on March 16, 2025. With contributions from Sangita Rajan and Sanjana Ganesh

From the series Zugvögel (migratory birds)