{"id":45495,"date":"2024-09-12T09:02:58","date_gmt":"2024-09-12T09:02:58","guid":{"rendered":"https:\/\/www.africa-press.net\/mauritius\/all-news\/our-country-itself-is-a-cultural-hub-for-mauritius"},"modified":"2024-09-12T09:19:03","modified_gmt":"2024-09-12T09:19:03","slug":"our-country-itself-is-a-cultural-hub-for-mauritius","status":"publish","type":"post","link":"https:\/\/www.africa-press.net\/mauritius\/all-news\/our-country-itself-is-a-cultural-hub-for-mauritius","title":{"rendered":"Our country itself is a cultural hub for Mauritius"},"content":{"rendered":"

Africa-Press – Mauritius. <\/strong><\/span>From mid-July to the end of August, Krishna Luchoomun returned to solo exhibitions of his work. Around a revealing theme, Enn ti dialog with Malcolm, he exhibited his works at The Hybrid, in Moka. The visual artist, co-founder of the pARTage collective, returns to a number of themes specific to artists of all disciplines in this election year, focusing on crucial needs and expectations. In the same vein, the citizen in him evokes his fears and expresses his feelings on the social climate prevailing in the country.<\/p>\n

Krishna Luchoomun, true to his temperament strongly imbued with universal philosophies, and to his characteristic straight-talking, doesn’t mince his words. He explains his disappointment at not having been able to exhibit his work around Malcolm de Chazal at the MGI, where he has been a lecturer for over two decades, despite the recent existence of a gallery designed to house the work of local artists. Taking an unvarnished look at current events, Krishna Luchoomun comments on the reasons why our society is bogged down… Encounter.<\/p>\n

You recently held a solo exhibition after a long hiatus. Tell us about this adventure…<\/b><\/p>\n

Krishna Luchoomun: My last solo exhibition was in 2015. \u201cEnn Ti Dialog Avec Malcolm\u201d, which ran from July 19 to August 30, was a beautiful adventure. But it required a lot of hard work that wouldn’t have been possible without the invaluable support of the Malcolm de Chazal Foundation, Moka Smart City, Offic\u00e9a and the Paradis Beachcomber Hotel. I am deeply grateful for their help, without which it would have been difficult to orchestrate such a project, with weekly activities such as children’s workshops, adult workshops and a round table.<\/p>\n

Many thanks also to Nooreen Lallmamode, the talented design and media professional who developed the visual communication, which greatly energized the project. I’ve heard nothing but positive comments about this exhibition. Many people are very grateful to have discovered Malcolm de Chazal, or facets of him they didn’t know! I’m delighted to have been able to contribute to this sharing of knowledge through art.<\/p>\n

Each work in the exhibition was accompanied by a concept note. Why do you think it’s important to explain the work?<\/b><\/p>\n

The note doesn’t explain the work, but serves, above all, as a point of entry into the work and leaves plenty of room for personal interpretation. Contemporary art requires a basic knowledge of culture and context to be understood. This is where the accompanying note becomes important, if not indispensable. Sharing knowledge through art requires explanatory notes that help enhance visual reading, reinforce emotional intelligence and stimulate reflection. Knowledge should not be seen as a consumer product, but rather as a catalyst for generating new knowledge through reflection.<\/p>\n

As a lecturer at the MGI School of Fine Arts, research is an integral part of your work. Are you satisfied with the results of your research project on Malcolm de Chazal?<\/b><\/p>\n

Yes, at the MGI, as in all higher education establishments, research is a very important component of our work. We are one of the few establishments where practice-based research is encouraged. I’m satisfied with the results, even if I could have gone further with more resources.<\/p>\n

The MGI School of Fine Arts has a very fine exhibition hall. Why did you choose to exhibit at The Hybrid and not there?<\/b><\/p>\n

The works were designed with the MGI gallery space in mind, but unfortunately I couldn’t find any sponsors for the rental. I wanted to exhibit at the MGI, an institution I’m emotionally attached to, having taught there for over 20 years and still have three years left. With a daily rent of Rs 5,000, the MGI gallery would have cost me around Rs 225,000 for this six-week exhibition. I’m grateful to the management for offering me a 50% discount, but it was still out of my budget. Fortunately, Moka offered me a free exhibition space and a budget for the exhibition!<\/p>\n

I’m surprised to learn that the MGI has asked you to pay to exhibit in the institution where you work! And what’s more, you’re presenting the results of your research as an academic visual artist. Isn’t it MGI’s role to promote culture? Culture in all its grandeur, including Indian culture, but also Mauritian culture, no?<\/b><\/p>\n

I was also surprised and, I must say, rather disappointed to have to pay to present my research results in the institution where I’ve been working for over 20 years. But I think it’s because they have expenses to cover… Anyway, it’s the institution’s policy, you can’t go against it.<\/p>\n

Personally, I think the MGI’s \u00c9cole des Beaux-Arts gallery should be made available to our artists free of charge. This would help to further democratize and revitalize art in the country, while giving greater visibility to the MGI as a space open to all Mauritians. Visual art is probably the most inclusive form of art.<\/p>\n

Well, let’s forget the MGI. How have you been received by the public? Have you sold any paintings? Can an artist make a living from his art in 2024 in Mauritius?<\/b><\/p>\n

We had a very good audience, people who took the trouble to come and see this exhibition in a little-known location and, interestingly enough, visitors spent a lot of time in the gallery interacting with the works! That’s very gratifying.<\/p>\n

I did sell a few works, and that’s not bad. The works are Lemurian in size and require a lot of space. If I may make a comment, I think it’s the institutions and corporations that should be supporting Mauritian contemporary art in a more significant way. But unfortunately, this is not part of their culture: most of them only buy by connection.<\/p>\n

To return to your question of whether an artist can make a living from his art in 2024 in Mauritius, I would categorically say no! Artists spend much more than they earn. And I’m talking here about almost all art forms, dance, music, theater, writing… In the visual arts, if you produce only to sell, you can eventually make a living, but if you make art for art’s sake and have no other source of income, you’ll surely starve! The arrival of the National Arts Fund has brought some relief and helped many artists realize projects. But it’s still not enough; it’s complicated and you can only receive it once every two years.<\/p>\n

lemauricien<\/b><\/p>\n

For More News And Analysis About Mauritius Follow Africa-Press<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

Africa-Press – Mauritius. From mid-July to the end of August, Krishna Luchoomun returned to solo exhibitions of his work. Around a revealing theme, Enn ti dialog with Malcolm, he exhibited his works at The Hybrid, in Moka. The visual artist, co-founder of the pARTage collective, returns to a number of themes specific to artists of […]<\/p>\n","protected":false},"author":84,"featured_media":45494,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2,6],"tags":[241],"class_list":["post-45495","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-all-news","category-files","tag-mauritius"],"yoast_head":"\nOur country itself is a cultural hub for Mauritius - Mauritius<\/title>\n<meta name=\"description\" content=\"From mid-July to the end of August, Krishna Luchoomun returned to solo exhibitions of his work. 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