- Tatjana Pieters
Group show
Spring, 2024

Solo show
May 2- 5 ,2024
New York, USA

- Superstudio3 @AAW24 by Stellar
Group show
May, 2024
Antwerpen, Belgium

- Polina Berlin gallery
Solo show
September, 2024
New York, USA

- Flats
Group show
September, 2024
Brussels, Belgium

- Suprainfinit gallery
Solo Show
April, 2025

Past solo shows:

- Watery Day's Eye
Kim? Contemporary Art Centre. Riga, Latvia
Riga, Latvia
August 24 - October 9, 2023

- Art Brussels
Solo presentation / Discovery section
Represented by ASHES/ASHES NY
Brussels, Belgium
April 20 - 23, 2023

- Yawn holding Fields
Tatjana Pieters gallery
Ghent, Belgium
March 12 - 17.04.2022

- Liste
Solo presentation
Suprainfinit gallery
Basel, Switzerland
September 21 - 27, 2021

- Daily Charts
Suprainfinit gallery
Bucharest, Romania
March 24, - May 1, 2021

- Still life of a still life
Tatjana Pieters gallery
Ghent, Belgium
October 28, 2020 - January 17, 2021

Figure of Everything
London, UK
September, 17 - October 31, 2020

- Self-isolation during COVID-19
Brooklyn, New York
April 27- May 1, 2020

- Pause for the cause
Cinnnamon gallery
Rotterdam, The Netherlands
March 23 - May 4, 2019

New York, USA

- Nightball effect at King's Leap
Brooklyn, New York

- Skeleton of the wind at Suprainfinit together with Viktor Timofeev in Bucharest, Romania

- The Man in the Moon together with Adja Yunkers at Belenius gallery in Stockholm, Sweden

- Aeolian breath in Riga, Latvia

- Between the sheets at Cinnnnamon gallery in Rotterdam, The Netherlands

- Sky's The Limit at Hole of the Fox in Antwerpen, Belgium

- Tastes like headaches together with Adam Cruces and Louisa Gagliardi at kim? Contemporary art centre. Riga, Latvia

Past group shows:

Jenny's NYC. Hosted by Kim? Contemporary Art Centre
Riga, Latvia

- Force[d] Majeure
Kim? Contemporary Art Centre
Riga, Latvia
September 2 - December 31, 2021

- Black Market
Kim? Contemporary Art Centre
Riga, Latvia
December 1, 2020 - January 31, 2021
NADA Miami
Dec. 1 - Dec. 5., 2020

- The 4 Gate Connection
Tatjana Pieters Gallery
26.01 -
Ghent, Belgum

- Close Up at Cesis Contemporary Art Centre

- A closed mouth gathers no feet
Dash gallery
Kortrijk, Belgium 
March 2 - April 7, 2019 

- Doors of Paradise at Union Pacific London

- The Last Rave together with Benny Van den Meulengracht-Vrancx and Tom Volkaert at Diesel Project space in Seraing, Belgium

- Heavy metal at Jerome Pauchant gallery in Paris, France

- Superposition at Joshua Liner gallery in New York

- Monsone at Suprainfinit gallery in Bucharest, Romania

- Wholesome environment at Lundgren gallery in Palma, Spain

- Form Cannibalism at The Stable in Waregem, Belgium

... something from 2012 - 2015

Daily charts


24. Mar. - 1. May. 2021
Bucharest, Romania

Art Viewer
Kuba Paris


Healing line
30cm x 95cm x 5cm
Stainless steel, textile, varnish


What’s left uncurved, fades into stillness
130cm x 165cm x 16cm
Stainless steel, textile, varnish


Bends of disbelief
42cm x 24cm x 3cm
Stainless steel, varnish
Lobby full of vases & apples
130cm x 165cm x 15cm
Stainless steel, textile, varnish


Still life of ephemerality
130cm x 85cm x 5cm
Stainless steel, textile, varnish

A Love letter to exhaustion
130cm x 180cm x 15cm
Stainless steel, textile, varnish

Bashful gaps
42cm x 24cm x 3cm
Stainless steel, varnish

Since 8th of March, Bucharest has entered the red zone again.

The highest air pollution rate in Bucharest is always visible through the colour red.

The buildings with increased seismal risk are marked as dark red dots on the map.

The reading of the global maps lately has been correlated to the intensities of red.

Red has become an alarming signifier, bleeding into one’s eyes with the hope that it would turn paler.

Daily Charts pushes the viewer into a state of alert. The intense red juxtaposed with the stillness of the rough metal structure is here to simultaneously confuse and enmesh. The sunlight reflects through the red translucent walls and it moves with it throughout the day, leaving traces in the space and on the surface of the works. With a conscious, sartorial gesture, Indrikis Gelzis amplifies his sculptures through visible nodes of connection, diverse textures of garments, as well as the micro-architecture that stages the works. The multiple viewing angles place the sculptures in different zones and invites the promise of becoming data for something else. The artist’s practice solidifies certain values and visual grammar of graph stocks, but with a refusal to using actual data. For Gelzis, data stems from personal experiences, imagination, memories, art history references, situations and other material and immaterial information. He gets thrilled to imagine how data travels inside wires, through air, through devices and in particular how it connects the world and activates processes.

Here, I imagine Daily charts as a choreographed mouth* that stages and utters words, languages, (mis)interpretations, sensibilities and affects. Data is represented by the movements of the mouth through measuring its intensity, capacity and ability to speak or listen. The sculptures weld together sounds, tensions, cavities and end up performing collectively a visual language that the artist expresses. The metal limbs, circles, surfaces and circuits forming the sculptures transgress into mouth movements and open a terrain for tracing voices, interpretations, modulations and relations. Gelzis’ works capture dynamics of matter and a rhythm of somatic orientation. I continue perceiving these sculptures as instruments of communication, each of which contours, discontinues and elaborates subjectivities. Toss this exhibition into a playground “imbued with an overlap of language and corporeality, discourse and fantasy”*.

Fleshed out of a virtual image, Indrikis’ sculptures contain a laborious process of cutting, welding, burning, bending, assembling, oiling and sewing, similar to the mouth’s ability to open, articulate, chew, yawn, laugh, mute, stutter, cry, sing, lick, bite, recite, whisper and ultimately to create the bridge between the inside and outside of bodies. Daily charts is a portal for language expressions, an architectural living entity that accommodates various tonalities, data abstractions and movements of the mouth as a vessel that carries narratives to be performed, exposed and analised.

As you exit the exhibition space, press your tongue and ….

Curatorial text written by Cristina Vasilescu

*Brendon LaBelle, Lexicon of the mouth, Poetics and politics of voice and the oral imaginary.