Kochi-Muziris Biennale (KMB), India’s first and largest contemporary art wraps its sixth edition on March 31, 2026, leaving behind traces of creativity throughout the unassuming spaces within the sprawling city.
Established in 2010, The Kochi Biennale Foundation (KBF) hosts the Biennale every two years at the historic port city of Kochi, not only celebrating art, culture and heritage but also contributing to conservation, restoration and revival of traditional monuments and art forms.
Kochi Muziris Biennale is like an artistic colourful feather added to Kochi city’s coastal charm – Rutuja Ulhe
In its sixth edition which has been on display since December 12, 2025, the art is envisioned as part of the cityscape and the distinct living ecosystem within it.
Moving away from just indoor, exhibition-centric events, the Kochi-Muziris Biennale 2025 embraces a sense of liveness across its various events whether in installations, performances or dialogues.
Architect, researcher and academicians Rutuja Ulhe and Haritha M K who are currently studying the the role of biophilic ( natural/living systems) elements at the outdoor venues of Kochi Muziris Biennale 2025-26 and its impact on the wellbeing of the Biennale’s visitors, dives into how many artworks weave the naturality of outdoor spaces into its creative presence.
Haritha, a landscape architect who has consistent visited the Biennale since 2017, reflects on how the city and its spaces – whether that be the venues or the coasts – have grown on her as much as the art has.
She says “The Kochi Biennale has been an eye opener of sorts. It’s pretty exciting to see every time how a venue adapts itself to the artwork and vice versa.”
Speaking of one of the artworks that stood out to her most she adds, “One of the most dynamic and culturally-rooted artwork was Otobong Nkanga‘s Soft Offerings to the Scorched Lands and the Brokenhearted. The artist and the team has transformed the outdoor space, true to her vision and the title. The garden feels like home with native plants and local materials amidst the parched landscape and open sky.”
Haritha explains that what stands out about this work is how Nigerian visual artist Nkanga brings her concept to life foregrounded by an array of local elements, allowing her diversify her concept for potential future use in different spaces.
Rutuja Ulhe adds, ” Kochi Muziris Biennale is like an artistic colourful feather added to Kochi city’s coastal charm. The Fort Kochi during the Biennale is like a dynamic canvas of vibrant artworks and installations, which inspite of its temporality often stays with you somewhere.”
On the artwork that stood out her this year she names Ibrahim Mahama‘s Parliament of Ghosts, an installation at Anand warehouse, a 200-year-old godown in Mattancherry.
Speaking of the work, she explains, “This political work/space resembles a parliament, classroom and a courtroom which hosted multiple open events for the visitors during the Biennale. The space smelt of jute and old wood, as the entire space is lined with jute sacks that were once used to transport pepper, timber, grains from European colonies. The discarded timber chairs, blurry ink stains of stampings carry the old stories of struggle and slavery.”
Whether tinged with hyperlocal elements or reflecting history, the sixth edition of the Kochi-Muziris Biennale (KMB) delivered 110 days of liveliness steeped in vivid storytelling and profound reflections in equal measure.
And as Kochi-Muziris Biennale (KMB) 2025-26 finally comes to a close, the impact and thought behind each artwork lingers far beyond its tangible form.
You can also contribute to Rutuja and Haritha’s study on biophilic elements in this year’s Biennale by filling their survey HERE . Responses being accepted throughout April.
(Images courtesy of Haritha M K and Rutuja Ulhe )
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