{"id":917,"date":"2026-05-21T06:32:03","date_gmt":"2026-05-21T06:32:03","guid":{"rendered":"https:\/\/kim.wrong.lv\/?post_type=exhibition&p=917"},"modified":"2026-05-21T06:32:53","modified_gmt":"2026-05-21T06:32:53","slug":"solo-exhibition-watery-days-eye-by-indrikis-gelzis","status":"publish","type":"exhibition","link":"https:\/\/kim.wrong.lv\/en\/exhibition\/solo-exhibition-watery-days-eye-by-indrikis-gelzis\/","title":{"rendered":"Solo exhibition \u201cWatery Day\u2019s Eye\u201d by Indri\u0137is \u0122elzis"},"content":{"rendered":"

In his most spacious exhibition to date, Indri\u0137is \u0122elzis turns his attention to the\u00a0\u2018liqui-modern\u2019<\/em>\u00a0individual engulfed by a sea of turbulent change. Mediated through our society living under the precondition of shattering flux that permeates the politics of relationships, identities and economics,\u00a0Watery Day\u2019s Eye<\/em>\u00a0is an ode to the personalized, analogue cyberspace masquerading itself under the foil of visual resemblances and contextual meaning of the public swimming pool.<\/p>\n

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A folkloric, nature-inspired color palette casts the customary white walls of institutional normality with brightness. Flashes of experience and memory act as binders for sculptural appropriations of the infographic ecosystem in metal. Urban planning and the ebb and flow of the stock market are represented in the gallery via welded, bent, oiled artworks which absorb and entrap the shapes and forms of living organisms and bodily details. While the functionally utilitarian details \u2013 tiles, carpets \u2013 of the living or communal spaces lying underneath establish the rhythm-grid to which the emotional passage of the entire\u00a0Watery Day\u2019s Eye<\/i>\u00a0plays out.<\/p>\n

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The infinite space of an endlessly reflective mirrored surface is fixed with the precision of geometric zoning, while the meanings of its semantic core drift somewhere between the reflections of sea\/water, the phone screen, or within each individual. The otherwise mute\u00a0pool<\/em>\u00a0is punctured by verticality; the figures of larger-than-life chromed metal daisies pulsate ever so\u00a0subtly<\/em>\u00a0at intervals of mechanical, short-cut, jittery movements, as one must always be careful and stay on guard.<\/p>\n

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The immersive aspirations of this show are revealed in the looped streams of voice and light. The mood of the installation is successively shifted by sonic absurdities that defy its unambiguous interpretation or logic. In the intervals between the audial \u201cticks\u201d and murmurs, which induce varying degrees of tension,\u00a0Watery Day\u2019s Eye<\/em>\u00a0flares up in the color of the digital water symbolizing the nutritional value of the daisies.<\/p>\n

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Emotional, adrift and clinging tightly to its corporeal and social backbone, \u0122elzis\u2019 installation is the result of transformative reflections made while being immersed in nature, the sea, the internet and, of course, the pool.<\/p>\n

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Choreography: during the phases of the white bulbs lit \u201cdaylight\u201d, the set of daisy sculptures mechanically \u201cticks\u201d cutting into the serenity of the exhibition; they freeze in motion and sound as the installation overcasts to a blue \u201cwatery\u201d illumination, accompanied by an audio narrative representing the natural elements \u2013 earth, water, fire, air and ether.<\/b><\/p>\n

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WARNING: EXHIBITION INCLUDES FLASHING COLORFUL LIGHTS!<\/strong><\/p>\n

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As part of the exhibition, a freestanding sculpture by Indri\u0137is \u0122elzis will be on view at Sporta 2 Quarter until October 8.<\/strong><\/p>\n

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The Name for Green is Camouflage<\/i><\/b><\/p>\n

Indri\u0137is \u0122elzis\u2019 sculpture<\/b><\/p>\n

August 24 \u2013 October 8, 2023<\/p>\n

Courtyard area of Kim? Contemporary Art Centre, Sporta 2 Quarter<\/p>\n

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The sculpture will be unveiled with a Dj performance in the Quarter and will be accompanied by an artist-led workshop for families with children. During the workshop, participants will have the chance to create their own miniature Baltic Sea sculptures under the guidance of the artist.<\/b><\/p>\n

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Reaching up from the roots, two standing figures embrace each other in a position that cannot be changed. The work resembles the tip of an iceberg or a plant-like entity that has emerged from a seed\u2014a force strong enough to break through the encapsulating surface. The way the sculpture is positioned suggests a shin bone or a heel\u2013a kind of plug in a socket. Like the germination of seeds, there are different ways that thoughts can break out of the body: through words, gestures and the fifth-generation cellular network (5G). With 5G, our thoughts can reach faraway places, leaving our bodies behind as a camouflage of the surroundings. The green-painted volumes, made of stainless steel sheets and arranged like packaging, are designed to substitute and mimic body-covering fabrics, embodying a steel skeleton with arms, legs and gestures. These gestures can appear in different positions, depending on experience and circumstances. The artist aims to achieve a physical state that befits a technological fossil or a snail that has left its shell behind.<\/p>\n

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Artist biography<\/b><\/p>\n

Indri\u0137is \u0122elzis<\/b>\u00a0(born 1988 in Latvia)\u00a0lives and works in Ri\u0304ga, Latvia.\u00a0\u0122elzis holds an MA in Visual Communication from the Art Academy of Latvia (R\u012bga, LV) and a Post-Graduate degree from HISK \u2013 Higher Institute for Fine Arts\u00a0(Ghent, BE). Selected solo and two-person shows:\u00a0VAGABOND \/ A Place Hard to Place<\/i>, Jenny\u2019s (New York, 2022);\u00a0Yawn holding Fields<\/i>, Tatjana Pieters (Ghent, 2022);\u00a0Figure of Everything<\/i>, Castor\u00a0(London, 2020);\u00a0Pause for the Cause<\/i>, CINNAMON (Rotterdam, 2019); TABLEAU, ASHES\/ASHES (New York, 2019). Recent group exhibitions:\u00a0The 4 Gate Connection<\/i>, Tatjana Pieters (Ghent, 2020);\u00a0Doors of Paradise<\/i>, Union Pacific (London, 2018);\u00a0Superposition<\/i>, Joshua Liner Gallery (New York, 2018).\u00a0His works are featured in the collections of the Latvian National Museum of Art; Museum of Recent Art \/ Romania; S.M.A.K. The Municipal Museum of Contemporary \/ Belgium; The Lewben Art Foundation \/ Lithuania; CELINE ART PROJECT \/ FRANCE; Paul Thiers Collection \/ Belgium; Alain Servais Family Collection \/ Belgium; Antoine De Werd Collection \/ The Netherlands; Tanguy Van De Weghe Collection \/ Belgium; Fr\u00e9d\u00e9ric de Goldschmidt Collection \/ Belgium; Wang Jianlin Collection \/ China; Colin Fernandes Collection \/ US; Zuz\u0101ns Private Collection \/ Latvia.<\/p>\n

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Artist acknowledgements:<\/b>\u00a0Bianka \u0122elze, Sab\u012bne Skarule.<\/p>\n

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Supported by:\u00a0<\/b>Ministry of Culture, State Culture Capital Foundation, Riga City Council,\u00a0KRASO,<\/a>\u00a0Absolut, Valmiermui\u017eas alus.<\/p>\n

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This is one of the events of the Riga Summer Culture Programme. All events organised by the Riga City Council can be found on the Riga Summer Culture Programme\u00a0website<\/a>\u00a0and followed on the \u201cR\u012bga notiek<\/i>\u201d social media page.<\/p>\n

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