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

- Solo Show
Kim? Contemporary Art Centre. Riga, Latvia
Riga, Latvia
August 28, 2023

- Residency
Cite Internationale Des Arts
Paris, France
September - November, 2023

Past solo shows:

- 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

Pause for the cause


23. Mar. - 4. Mary, 2019
Rotterdam, The Netherlands
Art Viewer

I hope this doesn’t find you,

My cigarette is lit while the star is falling
The anguish is far away
You don’t say, but
My pose feels like ibuprofen

It tickles when you weld and grind
All the turns and bends
Decisions made
Wind currents laugh instead

Breath that shapes the globe
not more arrogant than a map
Precious waste
Ghosts up and down the graph

Where the checkered pattern can be sunburned
An intangible unit can be born
Construct my desire
Turn it into evidence

Solely in fume
my everlasting posture can be ascertained
A reflex of a limb
Makes my Rolex glitter

The star is falling
Shall I Inhale or
await the breeze
caused by superhighway rock

Indrikis Gelzis

Under breath

Stainless steel, red cellophane



Ride on coattail
Steel, red cellophane, white polyethylene




Finer than frog hair
Stainless steel, black cellophane


Permutation of desire
Steel, white polyethylene





Currents of desire
Steel, white polyethylene




Air of pretension
Steel, white & black polyethylene, black cellophane





Breathe in, breathe out. Now open your eyes. Slowly unfold yourself. Lift your head, stretch your limbs. Unclench your fists. You are alive. Now, light a cigarette. Behold the world. Its structures, its materials. This is your universe. You created it.

Breathing and living human beings we are. Rational animals, in an age of technology that we called upon ourselves. Gods, we want to be, creators, dreaming of ever bigger, higher, brighter. We walk up straight: our heads reaching for the skies. A laborious kind: working, aiming, building, aching. Thinking. Breathing.

Indrikis Gelzis’ second exhibition at the gallery picks up from his large scale work ‘Aeolian breath’(2017). In the field of geology, aeolian processes refer to the wind’s ability to shape the surface of the Earth. Aeolian breath connects this idea to life on a human scale. The ‘breath’ of the winds working on an aeolian time scale (a scale that will forever be beyond human experience) is measured against our breathing – that involuntary, almost ’automatic’ and repetitive act that is most fundamental to life.

Break. The. Cycle.

Inhale. Reflect. Repeat.

A smoke break. ‘A pause for the cause.’ Take a step back, hacking the cycle.

A brief relief from the desk job, assembly line, welding machine. From automation. Even breathing becomes a conscious rather than an ‘automatic’ experience. Life!

Having a laugh. Sarcastic joke. Do you have a light? (De-stressing with a pull from that most addictive and carcinogenic of all consumer products. Chuckle. Cough.)

At the basis of Gelzis’ works, we find figuration: human poses, headless torso’s and limbs abstracted into frail, skeletal spatial-linear compositions. The figurative origins may be hard to discern at first sight, but they traceable, as if the artist took up a course in live-model drawing class and decided to rationalise the process of live drawing into a mechanical and industrial practice. In a sense, Gelzis’ work is a re-enactment of the historic shift from figuration to abstraction, albeit set to 21st-century tune. It is no coincidence that Gelzis’ abstracted figuration winks at modernist artistic positions. After all, Gelzis shares an interest with his avant-garde predecessors: industrialisation, labour, and how this impacts our (social) world.

At this point, we see before our mind’s eye a yellowed black and white photograph of workers gathering ‘for the cause’, discussing their next social action or strike while lurking on a cigarette. (Practically everyone was a smoker in those more revolutionary days, and the revolutions were artistic as much as industrial/technical and social. We could just as easily replace the workers in the photograph with a who’s who of the interbellum artistic avant-garde.) Yet…

Yet while the industrial revolution continues as a technological revolution (drones delivering consumer goods, need I say more?), the continuation of an artistic revolution is less obvious. According to Gelzis, “the world is being rebuilt to communicate with itself, as well as to communicate without the assistance of human consciousness”. Man is left out of the equation. How does this resonate artistically? Isn’t art, isn’t the artist, above all, human?

Gelzis’ installation is comically modelled after a cigarette, rendered into a rectangular, open structure. In a fragment of the wall covered with yellow fibreglass, we might recognise the filter; plasterboards and tiles are the filter zone, metal profiles outlining the rest of the ‘cigarette’. Upon the ‘cigarette’ the works are places, said tableaus of frail, headless postures, ideal postures; an ideal of man in inhuman times.

Time is a filter. Aeolian breathes turn civilisations to dust. For a brief moment, we live. We breathe.

A drone hovers over. You arch your back, you clench yourself into a ball and close your eyes. At peace? At peace.