Frieze London

The Project 88 booth will display artworks that employ material processes and narrative techniques to address notions of space and time from historiographical as well as socio-cultural standpoints. Through abstract gestures and specific references, the works permit notions of chance and speculation to aid imaginative and conceptual considerations.

Hemali Bhuta’s Subarnarekha works employ gold materially in reference to a geographical area that is rich in the resource and to also use it’s geological nature to divulge the absurdity of political borders that have had grave consequences in the same region.

Huma Mulji’s The City of a Thousand Rebellions: Sarwar Road, 26th July 2011 reflects upon the demolition of a water-tower in Lahore to consider how power structures control public spaces. The fabric that Mulji works on represents the resilient skin of the city.

Wasif Munem’s cyanotype prints evoke the complex industrial, cartographic, and agricultural history of Bangladesh, through visually abstract yet carefully-considered representations of rice, a crop considered synonymous with the region’s geography and culture.

Neha Choksi’s Missing Monument Series features elements of the lost-wax process of making bronze sculptures. The apparatus functions as an artwork by itself and by suggesting the missing monument, recalling a Sumerian sculpture, that it could create.

In Raqs Media Collective’s Sleep Clock, word-combinations produced by the clock’s hands generate ever-changing possibilities concerning notions of sleep, wakefulness, life, and death.

Risham Syed’s paintings from her Lahore series depict sites that may be transformed by imminent development. Her static images of spaces of transformation allude to the numerous changes that Lahore has endured over the centuries.

In his Tear paintings, Sandeep Mukherjee overlaps various textures by repeatedly applying coats of paint to mask previous gestures. His paintings create disjointed layers of history—past and present coalesce into a synchronous existence.

Sarnath Banerjee’s screenprints, Casual Highland I, II fuse fact and fiction to generate new stories about the Scottish Highlands. Idiosyncrasy and myth are privileged over dispassionate truths to challenge existing historical narratives.