Project 88

Project 88 Shanu Lahiri
Curated retrospective
13 August - 19 September
—
Contemporary Now 2026
Lalit Kala Akademi, Chennai
8 - 25 August 2026

𝘕𝘦𝘷𝘦𝘳 𝘸𝘢𝘴 𝘢 𝘴𝘩𝘢𝘥𝘦: 𝘗𝘢𝘳𝘵 𝟤 is open till 18 July 2026 at Project 88.𝗜𝗻𝘁𝗶𝗺𝗮𝗰𝗶𝗲𝘀This week, togethernesses and flux. Embeddin...
15/07/2026

𝘕𝘦𝘷𝘦𝘳 𝘸𝘢𝘴 𝘢 𝘴𝘩𝘢𝘥𝘦: 𝘗𝘢𝘳𝘵 𝟤 is open till 18 July 2026 at Project 88.

𝗜𝗻𝘁𝗶𝗺𝗮𝗰𝗶𝗲𝘀
This week, togethernesses and flux. Embedding the wayfarer’s traverse in a set of drawings, vignettes of giant bugs, smoking brick kilns, wary mammals, and Goalpara’s (Santiniketan district) scrubland, in states of despair and survival, are seen from above, askew, up close, or at eye level, all at once. In this miraculous simultaneity lies a fair if melancholic analogue to a restless society (Subhankar Chakraborty). Studying the socio-schematic resonance between chawl and arboreal design on a street in Dahisar (suburban Mumbai) focuses an architecture thesis. Regarding trees as structure and typology, or culture not species, delinks from their status quo as green fuzz, decorative shrubbery, and guilt alleviator in models of urban design, and situates architecture as one part of a living forest. (Sahil Sawant). Formally evocative of crown shyness, a fractured web of printed acrylic panels nods to the natural draw for bodies to congregate under a canopy and dwell, from the ground, in the leaves (Raqs Media Collective).

- Prajna Desai

See more in the link in bio.

𝘕𝘦𝘷𝘦𝘳 𝘸𝘢𝘴 𝘢 𝘴𝘩𝘢𝘥𝘦: 𝘗𝘢𝘳𝘵 𝟤 is open till 18 July 2026 at Project 88.𝗟𝗼𝗼𝗸𝗶𝗻𝗴, 𝗺𝗼𝘃𝗶𝗻𝗴, 𝗳𝗲𝗲𝗹𝗶𝗻𝗴Four sketchbooks, four cities,...
10/07/2026

𝘕𝘦𝘷𝘦𝘳 𝘸𝘢𝘴 𝘢 𝘴𝘩𝘢𝘥𝘦: 𝘗𝘢𝘳𝘵 𝟤 is open till 18 July 2026 at Project 88.

𝗟𝗼𝗼𝗸𝗶𝗻𝗴, 𝗺𝗼𝘃𝗶𝗻𝗴, 𝗳𝗲𝗲𝗹𝗶𝗻𝗴
Four sketchbooks, four cities, and a forest of gazes on trees and botanica that condense and displace vision as much as emotion through everything from drip, splash, and scumbling to verismo and the magically real (Suresh Kumar Singha). A twin set of coloured pencil works sew the heart of one forest, Jaipur’s Dol ka Badh, with another, Warsaw’s Kabaty. Elsewhere, in an ethereal act of conjuring, the filmic glitchiness of line under sheer wash disrupts the reality of a tree’s severed limbs, shifting the reference of image beyond seeing to intuiting (Neha Luthra). Searching for the mother tree also investigates how the moving image navigates, eats, and refills space, and how listening parallels looking (Sashikanth Thavudoz).

— Prajna Desai

See more in the link in bio.

Mahesh Baliga’s works are on display at No.9 Cork Street as part of the group show 𝘛𝘳𝘦𝘦𝘪𝘴𝘩 curated by Prajna Desai.‘I’m ...
04/07/2026

Mahesh Baliga’s works are on display at No.9 Cork Street as part of the group show 𝘛𝘳𝘦𝘦𝘪𝘴𝘩 curated by Prajna Desai.

‘I’m looking at two different spaces where trees grow: one is a botanical garden, and the other is the roadside. There’s also a piece of work that imagines the 𝘏𝘦𝘢𝘳𝘵 𝘰𝘧 𝘵𝘩𝘦 𝘵𝘳𝘦𝘦. In the Kolkata botanical garden, there’s a strange tree that almost feels dead—but it’s still there. Just a few roots remain, reaching out to the water to keep it alive (𝘚𝘵𝘳𝘢𝘯𝘨𝘦 𝘵𝘳𝘦𝘦 𝘧𝘳𝘰𝘮 𝘣𝘰𝘵𝘢𝘯𝘪𝘤𝘢𝘭 𝘨𝘢𝘳𝘥𝘦𝘯). Then there’s the 𝘛𝘢𝘪𝘭𝘱𝘰𝘵 𝘱𝘢𝘭𝘮, which flowers only once every 80 to 90 years. I saw it at Lalbaug. In 𝘚𝘶𝘮𝘮𝘦𝘳, I see the Amaltas tree, which I’ve come to notice every year along the roadside. And the 𝘒𝘢𝘭𝘱𝘢𝘷𝘳𝘪𝘬𝘴𝘩𝘢—in this work, a kite has been stuck in its branches. I remember it as a childhood memory.’

– Mahesh Baliga

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Mahesh Baliga
𝘏𝘦𝘢𝘳𝘵 𝘰𝘧 𝘵𝘩𝘦 𝘵𝘳𝘦𝘦
Casein on linen 
30 x 22 inches
2026

Mahesh Baliga
𝘚𝘵𝘳𝘢𝘯𝘨𝘦 𝘵𝘳𝘦𝘦 𝘧𝘳𝘰𝘮 𝘣𝘰𝘵𝘢𝘯𝘪𝘤𝘢𝘭 𝘨𝘢𝘳𝘥𝘦𝘯
Casein on linen 
30 x 22 inches
2026

Mahesh Baliga
𝘒𝘢𝘭𝘱𝘢𝘷𝘳𝘪𝘬𝘴𝘩𝘢
Casein on linen 
12 x 10 inches
2026

Mahesh Baliga
𝘚𝘶𝘮𝘮𝘦𝘳
Casein on board 
10 x 12 inches
2026

Alterity: stranger, all, of usFace the other and look deep. Some works this week trouble eco-binaries, others dolly zoom...
03/07/2026

Alterity: stranger, all, of us

Face the other and look deep. Some works this week trouble eco-binaries, others dolly zoom into the pageantry of neglected biomes. The symbolic order of growth in clay sculpture pairs with monumental homage to an ordinary bit of turf in watercolour with natural pigments (Khageswar Rout). Ardour and arbour: the language of nakedness codes insight with love in inked studies of native and once foreign trees in riparian coexistence like timeless truths (Janaki Gandhi). Paintings fusing travel and habitual observation dwell on value and pleasure, and what separates botanica preciosa from botanica vulgaris (Mahesh Baliga). Levelling morality, portraiture entrusts the alien to our consciousness; perceived invader falls away for pure expression, compelling the eye to “be-for-the-other” (Anarya).

— Prajna Desai

𝘕𝘦𝘷𝘦𝘳 𝘸𝘢𝘴 𝘢 𝘴𝘩𝘢𝘥𝘦 𝘗𝘢𝘳𝘵 𝟤 ends on 18 July 2026. See more in the link in bio.

Claire Baker’s work 𝘱𝘪𝘯𝘬 𝘣𝘳𝘦𝘦𝘻𝘦, 𝘢𝘭𝘰𝘧𝘵 (𝘥𝘢𝘸𝘯,𝘝𝘪𝘯𝘥𝘩𝘢𝘺𝘢 𝘳𝘢𝘯𝘨𝘦, 𝘔𝘢𝘥𝘩𝘺𝘢 𝘗𝘳𝘢𝘥𝘦𝘴𝘩, 𝘍𝘦𝘣𝘳𝘶𝘢𝘳𝘺 𝟣𝟪, 𝟤𝟢𝟤𝟥), is on display at No.9 C...
02/07/2026

Claire Baker’s work 𝘱𝘪𝘯𝘬 𝘣𝘳𝘦𝘦𝘻𝘦, 𝘢𝘭𝘰𝘧𝘵 (𝘥𝘢𝘸𝘯,𝘝𝘪𝘯𝘥𝘩𝘢𝘺𝘢 𝘳𝘢𝘯𝘨𝘦, 𝘔𝘢𝘥𝘩𝘺𝘢 𝘗𝘳𝘢𝘥𝘦𝘴𝘩, 𝘍𝘦𝘣𝘳𝘶𝘢𝘳𝘺 𝟣𝟪, 𝟤𝟢𝟤𝟥), is on display at No.9 Cork Street as part of the show 𝘛𝘳𝘦𝘦𝘪𝘴𝘩 curated by Prajna Desai.

‘The birds sweep around my head as if erasing my thoughts with the air. Their wings buoyant with dawn, spiralling the tree repetitively, they periodically pause, held hidden within the porosity of its grand trunk; then again rush toward me, fanning the heat of the oncoming Madhya Pradesh sun against my cheek. A living lasso binds the tree to them, with my body strung on dirt in between.’

— Claire Baker
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Claire Baker
𝘱𝘪𝘯𝘬 𝘣𝘳𝘦𝘦𝘻𝘦, 𝘢𝘭𝘰𝘧𝘵 (𝘥𝘢𝘸𝘯,𝘝𝘪𝘯𝘥𝘩𝘺𝘢 𝘳𝘢𝘯𝘨𝘦, 𝘔𝘢𝘥𝘩𝘺𝘢 𝘗𝘳𝘢𝘥𝘦𝘴𝘩, 𝘍𝘦𝘣𝘳𝘶𝘢𝘳𝘺 𝟣𝟪, 𝟤𝟢𝟤𝟥)
Iron oxide, cassel earth, and titanium white with various binders on aluminium
Set of 10, 16.5 x 11.625 inches
2023

𝗩𝗲𝗿𝗱𝗮𝗻𝗰𝘆: 𝗯𝗲, 𝗵𝗲𝗿𝗲, 𝗮𝗹𝘄𝗮𝘆𝘀This week, looking at verdancies that grasp art practice through material and process. The fal...
27/06/2026

𝗩𝗲𝗿𝗱𝗮𝗻𝗰𝘆: 𝗯𝗲, 𝗵𝗲𝗿𝗲, 𝗮𝗹𝘄𝗮𝘆𝘀

This week, looking at verdancies that grasp art practice through material and process. The fallen is freshness: an eco print indexes a moment while mapping an eternal duality (Tejal Shah). Root, fibre, and grass blend the woven and the built to reconstruct history, home, and trade (Soumen Mondal). Palimpsestic paint is also the light dispersed by a canopy (Sandeep Mukherjee). A palette that commutes between the quivering and the steadfast conveys the complex traffic between two nervous mechanisms, plants’ and ours (Debasis Beura). The lens and its read of sensory nuance calls forth the barely perceptible transtion between seeing (the tree) and feeling (Poulomi Basu).

See more in the link in bio.

Neha Choksi’s work: left to right: 𝘉𝘦𝘴𝘪𝘥𝘦 (𝘖𝘯 𝘛𝘩𝘦 𝘖𝘵𝘩𝘦𝘳 𝘚𝘪𝘥𝘦), 𝘙𝘦𝘢𝘤𝘩 (𝘖𝘯 𝘛𝘩𝘦 𝘖𝘵𝘩𝘦𝘳 𝘚𝘪𝘥𝘦), 𝘓𝘦𝘢𝘯 (𝘖𝘯 𝘛𝘩𝘦 𝘖𝘵𝘩𝘦𝘳 𝘚𝘪𝘥𝘦); is o...
26/06/2026

Neha Choksi’s work: left to right: 𝘉𝘦𝘴𝘪𝘥𝘦 (𝘖𝘯 𝘛𝘩𝘦 𝘖𝘵𝘩𝘦𝘳 𝘚𝘪𝘥𝘦), 𝘙𝘦𝘢𝘤𝘩 (𝘖𝘯 𝘛𝘩𝘦 𝘖𝘵𝘩𝘦𝘳 𝘚𝘪𝘥𝘦), 𝘓𝘦𝘢𝘯 (𝘖𝘯 𝘛𝘩𝘦 𝘖𝘵𝘩𝘦𝘳 𝘚𝘪𝘥𝘦); is on display at No.9 Cork Street as part of the show 𝘛𝘳𝘦𝘦𝘪𝘴𝘩 curated by Prajna Desai.

“Glass, apparently intangible, forms a barrier and a portal to reality; the artist’s touch is the magic that cracks open a connection to a novel world through the glass to the tree on the other side. Its transparency deceptively seems to yield to pressure. As her fingers and body press against it, it oscillates between portal and mirror. In touching the glass with painted fingers, Choksi embraces the history and primary touch of painting going all the way back to the cave. Her work shares in the primordial quality of the artist’s vision, a quest for the lived perspective, the core truths of perceptual experience.”

— David Thorp

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Neha Choksi 
Left to right: 𝘉𝘦𝘴𝘪𝘥𝘦 (𝘖𝘯 𝘛𝘩𝘦 𝘖𝘵𝘩𝘦𝘳 𝘚𝘪𝘥𝘦), 𝘙𝘦𝘢𝘤𝘩 (𝘖𝘯 𝘛𝘩𝘦 𝘖𝘵𝘩𝘦𝘳 𝘚𝘪𝘥𝘦), 𝘓𝘦𝘢𝘯 (𝘖𝘯 𝘛𝘩𝘦 𝘖𝘵𝘩𝘦𝘳 𝘚𝘪𝘥𝘦)
glass paint baked onto tempered ultra-clear glass, gray one-way mirror, walnut wood
17 x 20 x 3 inches each
2021

Goutam Ghosh’s work 𝘴𝘪𝘭𝘬 𝘩𝘢𝘳𝘷𝘦𝘴𝘵𝘦𝘳 is on view at No. 9 Cork Street, London, for the group show 𝘛𝘳𝘦𝘦𝘪𝘴𝘩 which runs until ...
21/06/2026

Goutam Ghosh’s work 𝘴𝘪𝘭𝘬 𝘩𝘢𝘳𝘷𝘦𝘴𝘵𝘦𝘳 is on view at No. 9 Cork Street, London, for the group show 𝘛𝘳𝘦𝘦𝘪𝘴𝘩 which runs until 4 July 2026.

‘As shrubs on the horizon pulled the veil, countless grasshoppers flew over the grass. The rows of grasses felt a gentle hum. In trying to see under low light, the eye mimics the sight of a frog catching up with the new order of shades and subtle things. First some colours and then, gradually, the objects emerge at the folds where the colours contrast. The situation has not improved and the picture remained hazy…’

Excerpt from a text by Goutam Ghosh

____

Goutam Ghosh
𝘴𝘪𝘭𝘬 𝘩𝘢𝘳𝘷𝘦𝘴𝘵𝘦𝘳
Gouache on cotton textile
59 x 74 inches
2024

Works by Amol K. Patil and Amitesh Shrivastava are on display at Apsara studios, London, as part of the show 𝘓𝘰𝘰𝘬 𝘏𝘰𝘸 𝘉...
17/06/2026

Works by Amol K. Patil and Amitesh Shrivastava are on display at Apsara studios, London, as part of the show 𝘓𝘰𝘰𝘬 𝘏𝘰𝘸 𝘉𝘳𝘪𝘨𝘩𝘵𝘭𝘺, a group show running till 27 June 2026. The exhibition explores the interplay between music and art, opening to mark the release of composer Alex Mills’ debut album by the same name.
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Amol K. Patil
𝘛𝘩𝘦 𝘗𝘰𝘭𝘪𝘵𝘪𝘤𝘴 𝘰𝘧 𝘚𝘬𝘪𝘯 𝘢𝘯𝘥 𝘔𝘰𝘷𝘦𝘮𝘦𝘯𝘵 𝘋𝟣
Drawing On Aluminium
18.3 x 26.5 inches
2022

From the collection of Diya Lahiri

Amitesh Shrivastava
𝘋𝘪𝘨𝘨𝘦𝘳𝘴,
acrylic on canvas,
48 x 66 inches,
2016

From the collection of Charlotte Meritt

—

Install photo credit James Retief

On June 18th 2026, we open the second part of 𝘕𝘦𝘷𝘦𝘳 𝘸𝘢𝘴 𝘢 𝘴𝘩𝘢𝘥𝘦, curated by Prajna Desai, at Project 88, Mumbai from 6 t...
16/06/2026

On June 18th 2026, we open the second part of 𝘕𝘦𝘷𝘦𝘳 𝘸𝘢𝘴 𝘢 𝘴𝘩𝘢𝘥𝘦, curated by Prajna Desai, at Project 88, Mumbai from 6 to 9 pm.

Join us for curated walkthrough’s with some exhibiting artists and the curator, at 6:30 and 8:00 pm.

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BMP Building
Mumbai
400005

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

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