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Gallery Espace

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It can be reached via public transport. Closest metro stations being “Sukhdev Vihar” on magenta line or “Ashram” on Pink line.
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Add: 16 Community Center, New Friends Colony, New Delhi, India,110025

08/10/2026

Thirty-five years of Espace has meant thirty-five years of conversations — between artists, ideas, cultures, and generations.

To mark this milestone in 2024, we began the celebrations with *Ancestral Futures*, curated by Swiss curator Damien Christinger. The exhibition looked back at Espace’s history while placing it in dialogue with emerging and future-facing artistic practices.

Bringing together gallery artists alongside notable Indian and European voices, the exhibition featured Arunkumar H.G., Ashish Sahoo, Ashok Ahuja, Harendra Kushwaha, Ish*ta Chakraborty, Nandini Bagla, Chirimar Maze Collective Studio, Michael Günzburger, Ravi Agarwal, Sharad Sonkusale, Sonia Mehra Chawla, Ujjal Dey, and Ursula Biemann.

*Ancestral Futures* was a reflection on where we have come from, the conversations that have shaped us, and the possibilities that lie ahead.

A fitting beginning to celebrating 35 years of Espace — and an ongoing journey in Indian art.

06/10/2026

Trained as an architect and interior designer, Reha Salvi taught herself the age-old craft of wood-turning on a lathe, translating it into a contemporary language of small-scale sculptures inspired by seed forms.
“Dehiscence”, the collection on view on the Espace Shelves, takes its title from the botanical process by which seed pods split open when ripe, releasing their seeds.
Salvi has long been fascinated by the shapes, textures and geometries of seed pods, collecting specimens from different plants before beginning to sculpt her own. Working with locally sourced woods such as neem, mahogany, acacia and teak, she first turns the wood on the lathe, then refines each form by hand, allowing the final shape to evolve.
The resulting sculptures are quiet studies of form, texture and transformation — rooted in the natural world, yet distinctly contemporary.

01/10/2026

Four Espace artists. One vital conversation about how we inhabit the earth.

We’re delighted to be part of Inheritors of Earth at the Kiran Nadar Museum of Art (KNMA), curated by Premjish Achari (Premjish Achari )— an expansive exhibition that asks us to reconsider our relationship with the vegetal world through ecology, memory, labour, migration, care and coexistence.

Within this conversation, Ravi Agarwal’s (Ravi Agarwal )Redemption/Homage (2023) traces the transformation of cacao from an ecological seed, revered in ancient Amerindian societies, into a global commodity. Drawing on his research into cacao cultivation in Kerala, Andhra Pradesh and Karnataka, Agarwal brings together photographs, found archival imagery and the ritual gesture of the aarti to reflect on colonial histories and our continuing commodification of nature.

Ish*ta Chakraborty (Ish*ta Chakraborty ) looks at how the migration of plants and humans has served as a political tool in European histories through cut-out canvases backed with cotton-printed Indian sarees, reflecting the intricate interplay of nature, culture and gender.

With Valay Gada’s (Valay Gada ) Bonsai Kitten’, the works explore rooting and the hidden structures of plant life, drawing attention to the ecological systems through which living worlds connect and sustain one another.

Arunkumar H.G.’s (Arunkumar H G ) series of five lenticular works dramatises towards deforestation and city-making, examining the transformations imposed upon landscapes through expanding urban development.

The exhibition brings together a body of artworks rooted in an understanding of the biosphere as an integrated whole, drawing attention to the entangled histories of human and plant worlds.

Inheritors of Earth is now on view at KNMA, Saket.
Image copyright: Kiran Nadar Museum of Art.

29/09/2026

Mark your calendar: October 15
Gallery Espace is pleased to announce ‘Emerald Leaf & Golden Fibre’, a solo exhibition by Sonia Mehra Chawla, featuring a new body of mixed-media canvases, photo-installations and video works that trace the interconnected histories of jute — the “golden fibre” —and tea — the “emerald leaf”— and their entanglement with imperialism and its extractive policies, which reshaped landscapes, communities and economies across the Global South.
While the jute and tea industries have considerably declined, their histories endure, caught between generational trauma and systemic cultural amnesia.

Sonia’s practice foregrounds alternative ways of knowing grounded in embodied memory and human labour. By emphasizing the agency of plant species and botanical life, her work challenges the colonial worldview that reduces nature to a resource for economic exploitation.

The exhibition has grown out of two fellowships awarded to Sonia between 2022 and 2025: the Charles Wallace India Trust (CWIT) Research Fellowship, awarded by the British Council in 2023; and the Plants on Paper Fellowship, funded by the Getty Foundation and the Getty Museum in collaboration with the Royal Botanic Garden Edinburgh, for 2024–2025.

25/09/2026

Glimpses from the spectacular opening of Nilima Sheikh’s Fractured Skies at the Museum of Modern Art on Thursday night — an important moment in the career of one of our most important artists, who has consistently given form through her art to the difficult stories of our times.

“I was overwhelmed seeing Nilima’s spectacular works come together in this space. To see the work of one of our most important artists presented at MoMA was a moment of immense pride for me. Having been associated with Nilima and her practice for over three decades, witnessing this exhibition come together was deeply moving and special.”

— Renu Modi, Founder, Gallery Espace

The MoMA exhibition offers more than a glimpse into Sheikh’s oeuvre of the past two decades, bringing together selections from three significant bodies of work: Each Night Put Kashmir in Your Dreams (2003–14), a series of painted scrolls rooted in her engagement with Kashmir; Home, Land (2023–25), a series on the nomadic Bakarwal communities of Jammu and Kashmir; and Shahid/Witness (2025–26), a new site-specific body of suspended painted scrolls commissioned by the Kiran Nadar Museum of Art in response to MoMA’s distinctive architecture and scale.

Sheikh has been associated with Gallery Espace since 1993, when she presented her solo presentation Song Water Air at the gallery.

Organised jointly by MoMA and KNMA, Fractured Skies is on view until June 13, 2027.

24/09/2026

Radhika Agarwala’s (Radhika Agarwala ) sculptures in ‘Sculpting Lineages: Women Across Generations” at Gallery Espace animate the space between the organic and the inorganic, exploring how the two intersect, transform and leave traces on one another.

The work “Every Bit of Earth is a Bit of You”, for instance, takes as its starting point an adenium plant that the artist brought into her studio - its gnarled, desiccated form speaking to its remarkable tenacity for life. Also known as the desert rose, the adenium can withstand long periods without water, appearing to die before reviving when conditions become favourable.

The series “Beneath the Ashes, We Were Trees” draws on fragments of bark and trees gathered after forest fires in Goa, transforming these remnants into sculptural forms. Similarly, the paper works Primordial Ooze—a reference to the primordial mix of organic compounds from which life is thought to have emerged—embed fragments of plant matter in resin, evoking the fluidity and shifting boundaries between organic and inorganic matter.

As curator Nainvi Vora (Nainvi Vora ) observes, “What interests me in Agarwala’s practice is precisely this tension between what material remembers and what sculpture makes possible.”

‘Sculpting Lineages: Women Across Generations” is on view at Gallery Espace until September 26

Radhika Agarwala was born in Kolkata in 1985. She currently lives and works from Goa. She has an MFA in Fine Art from Goldsmiths, University of London (2011), MFA in Painting from School of Fine Art, University of Florida (2010) and Post-Baccalaureate Certificate in Painting from The School of the Art Institute of Chicago (2008), preceded by BFA in Painting from Rabindra Bharati University, (2007).
Agarwala has presented herd work extensively in India and abroad.

20/09/2026

Our Director, Renu Modi, visited Soma Surovi Jannat’s exhibition, Climate, Culture, Care, at the Ashmolean Museum, University of Oxford, this week and joined Dr Mallika Kumbera Landrus, the exhibition’s curator and Keeper of the Eastern Art Department, for a walkthrough.
The works in the exhibition—including intricate small-format drawings, a 31-foot scroll and drawings made directly on the walls—grew out of Surovi’s engagement with the Ashmolean’s collections during her 2023 residency at the museum, the first awarded to an artist from Bangladesh. Central to this body of work is the Sundarbans, the world’s largest mangrove forest, located in southern Bangladesh. It is a landscape where communities have long shaped their lives and livelihoods in close relationship with nature. Climate change and rising sea levels are disrupting this delicate balance, with islands disappearing alongside homes, livelihoods and ways of life deeply attuned to the environment. Surovi’s works reflect on these fragile interconnections between landscape, community, climate and culture.
Soma Surovi Jannat’s (b. 1980) practice spans drawing, painting, installation and video, and is informed by a close engagement with nature and rural communities. She received the Samdani Art Award at the 2020 Dhaka Art Summit and, in 2023, became the first Bangladeshi artist to participate in the Ashmolean’s South Asian Artist in Residence programme. She has been invited to participate in the upcoming Bengal Biennale.
Surovi is represented internationally by Gallery Espace.

19/09/2026

Sculpting Lineages: Women Across Generations brings together sculptures and pencil drawings on paper by Latika Katt, tracing the intimate and enduring connections between women across generations.

Katt’s sculpture begins with an act of looking. Across more than five decades, her practice has moved between portraiture, ecological abstraction, monumental sculpture and experimental material forms, yet sustained attention remains its central impulse. Through material, gesture, memory and line, her works consider inheritance, identity and the ways women carry stories forward.

A defining encounter from 1985, when Katt sculpted Swami Chinmayananda in Varanasi, reveals this approach. Captivated by his face and eyes, Katt transformed an act of looking into an intimate sculptural encounter. For her, likeness is never simply replication; it emerges through observation, presence and lived experience.

This ethic of attention extends across her practice, from portraits of Chinmayananda and Gandhi to ecological and material investigations such as Echoes Within Stone, Carved Silence and Murda. Nature, memory, mortality and material transformation become active forces within her work.

Rooted in the histories of post-Independence Indian sculpture, Katt’s practice remains deeply attentive to the living histories held within form.

On view at Gallery Espace till 3 October.

17/09/2026

On M.F. Husain’s 111th birth anniversary, we celebrate the legendary painter who was instrumental in the inception of Gallery Espace with a throwback to a unique art project presented in “Ancestral Futures”, our 2024 exhibition marking the gallery’s 35th anniversary. Curated by Damian Christinger, the exhibition explored the opportune question - “How do we bring our pasts into futures?” For this project, Christinger invited eight artists associated with Maze Collective Studio — Ashish Sahoo, Jaimini Jariwala, Parizad D, Shubha Dixit, Soumyabrata Kundu, Vinati Sehgal , Rai and Uzma Mohsin — to intervene on a poster designed by Husain for his exhibition of watercolours on autobiographical themes at Gallery Espace in October 1989, the gallery’s inaugural show.
The encounter between the legendary painter, now canonised in art history, and a younger generation of artists, many of them working with moving images, led to a series of interesting experiments. Sahoo, for instance, covered the poster with images of a Koli woman, drawing on Madhuri Dixit’s iconic poses from Husain’s film “Gaja Gamini”. Jariwala ran a stitched line from top to bottom, describing the gesture as “a metaphor for connection — between the past and the present, between memory and reality, and between the artist and the audience.” Parizad D transformed the poster into handmade photobooks, capturing moments of artistic self-introspection.

16/09/2026

What does it mean to look at the history of modernism and sculpture in India through the lens of women practitioners?
Join us at Gallery Espace for a panel discussion hosted on the sidelines of our ongoing exhibition, ‘Sculpting Lineages: Women Across Generations’. Using the current show as a point of departure, the speakers will explore the broader discourse surrounding women and sculpture in India, the writing of modernism, and questions of lineage and inheritance. The conversation will also explore how distinct material practices can challenge and complicate established art-historical narratives.

The participants include Parul Dave Mukerji, professor at the School of Arts and Aethestics at Jawaharlal Nehru University, exhibition curator Nainvi Vora and three of the six participating artists – Sojwal Samant, Radhika Agarwala and Poojan Gupta.
We look forward to seeing you there!

Address

16 Community Center, New Friends Colony
Delhi
110025

Opening Hours

Monday	11am - 7pm
Tuesday	11am - 7pm
Wednesday	11am - 7pm
Thursday	11am - 7pm
Friday	11am - 7pm
Saturday	11am - 7pm

Telephone

+911126326267

Website

http://www.galleryespace.com/

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