Abstract This article employs artifacts from the KMB’s “material culture” as a lens into this institution’s branding process and, within it, its interaction with the Venice Biennale. It analyzes larger questions about the career of the biennale cultural form as it re-territorializes in a new location that is added to the art world map “in progress.” Historically, geographical location has been crucial for many biennales in the Global South to articulate their origin, identity, and claims vis-à-vis the global art world. Moreover, biennale proliferation especially in the South has produced cartographic re-imaginings aiming to destabilize the “center-periphery” configuration of the art world map. The article shows that the KMB does not reiterate ideological standings put forward by Southern biennales but crafts its positionality on different grounds. These entail simultaneously anchoring the KMB to histories of circulation in and out of South India tracing back at least two millennia and strategically weaving a relation with the archetypical Venice Biennale in the present.

中文翻译：

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艺术与全球南方：高知-穆吉里斯双年展 (KMB) 的“玩威尼斯”

摘要 本文采用九巴“物质文化”的文物作为镜头，了解该机构的品牌塑造过程，以及其与威尼斯双年展的互动。它分析了关于双年展文化形式职业生涯的更大问题，因为它在一个新的地点重新划分区域，这个地点被添加到“进行中”的艺术世界地图上。从历史上看，地理位置对于全球南方的许多双年展来说至关重要，以阐明其与全球艺术世界的起源、身份和主张。此外，双年展的激增，尤其是在南方，已经产生了旨在破坏艺术世界地图“中心-外围”配置的制图重新想象。文章显示，九巴并没有重申南方双年展提出的意识形态立场，而是根据不同的理由来塑造自己的立场。