Represented by Suprainfinit gallery
Paris Art Week /
Hosted by Double V gallery
Paris, France
October 14 24 - November 10, 2023

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

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

Past solo shows:

- 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

Skeleton of the Wind together with Viktor Timofeev

Suprainfinit gallery

4. May. - 14. May. 2018
Bucharest, Romania

Art Viewer





Neo Rayonism
155cm x 90cm x 16cm
Steel, fabric, gradient print, melamine

Tedium Max
130cm x 110cm x 10cm
Steel, fabric, gradient print, melamine

Ecole De Dormant
140cm x 95cm x 16cm
Steel, fabric, gradient print, melamine

Rural Lazybones
145cm x 95cm x 50cm
Steel, fabric, gradient print, melamine

Trial De Volatile
65cm x 45cm x 110cm
Steel, fabric, gradient print

Trial De Ephemera
65cm x 45cm x 110cm
Steel, fabric, gradient print


With “Skeleton of the wind,” Indrikis Gelzis and Viktor Timofeev present an exhibition in which the visual grammar of minimal sculpture collides with the Surrealist inclination toward anthropomorphizing objects. It’s subtle, here:
Gelzis’s works, rendered in black metal and blue fabric, stretch, bend, and flex as though they might weasel their way out of two-dimensionality. They’re impish rather than creepy, interested less in uncovering subconscious desires than in playfully destabilizing the staid functionality through which we graph and understand data—and, by extension, reality.

These are hard lines. They break up space and delineate geometric forms whose meanings we can only assume. We use minimalism now to think about systems—it’s no longer just a matter of reduction, of paring back to the core characteristics  of a medium or material, so much as generating a program or map, a set of data points from which some form of technical information might be predicted or inferred. Gelzis makes these works digitally, 3D-modeling the sculptures before rendering them in steel tubes and fabric sleeves. This process—and the fact that the finished works look a bit like hyperactive stock market graphs—might allude to neoliberal capitalism’s impulse to accumulate information-as-wealth (think, for example, of the novel and exciting means Facebook innovates to profit off its users’ data).Through it, the artist both materially consolidates and abstracts information into paintings and/or sculptures that appear to map some sort of data but flippantly refuse legibility.

Like Gelzis’s works, Timofeev’s drawings employ a reduced palette: these are shadowy sci-fi visions in red, blue, and black pencil. In one, veiny blue forearms with upturned hands reach up in a circle, skyscrapers from some alternate universe, with armless, genderless red figures perched atop them. Another focuses on a single blue palm cradling a red figure who seems to pray to drawings or screens affixed to the supersize fingertips; around it, more red figures lie and kneel in either reflection or repentance.These humanoids (and that could refer to both the red beings and the corporeal infrastructure they inhabit) draw out the eerily humanlike quality of Gelzis’s seemingly rigid, architectural sculptures. It’s unclear who’s really living here, and who or what is in control. After all, the wind has no skeleton—no bones or body, no underlying infrastructure—but there’s structure and direction to it nonetheless.

A text by Dana Kopel who is a curator, writer and editor at the New Museum in New York.