indrikis.gelzis@gmail.com
biography


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

Future:

- Art Brussel
Cinnnamon gallery
Brussel, Belgium
25-28 April 2019

- Arco Lisboa
Suprainfinit gallery
Lisboa, Portugal
May 16-19 2019

- Close Up
Cesis, Latvia
Opening on Jul 6, 2019
More info soon

- Solo show
Suprainfinit gallery
Spring, 2020

Past solo shows:

- TABLEAU at ASHES/ASHES
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:

- 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



- Works from 2012 - 2015






















Tastes like headaches
Indrikis Gelzis and Adam Cruces together with Louisa Gagliardi

kim? Contemporary art centre

3. Feb. - 12. Marc. 2017
Riga, Latvia

Art Viewer
Mousse
OFLUXO
Echo Gone Wrong
Szum
Footnotes On Art





Candlelight
Adam Cruces & Louisa Gagliardi
Acrylic and ink on PVC
2017

Mission Critical
Metal squere tubes, textile, buttons
Dimension: 160 cm x 100cm x 25cm
2017


d


Explorer
Adam Cruces
Ruff collar and grey hair
2017 

Finder
Metal squere tubes, textile, buttons 
Dimension: 150cm x 100cm x 14cm 
2016

Portrait of Parallelism
Metal squere tubes, textile, buttons
Dimension: 150cm x 90cm x 15cm 
2016

d

Shooting the Breeze
Cherries by Adam Cruces
Metal squere tubes, textile, buttons
Dimension: 170cm x 100cm x 14cm 
2016

D

Sweet Spot
Metal squere tubes, textile, buttons
Dimension: 160cm x 100cm x 25cm 
2017

Teenage Endeavour for the Highest Sunrise
Metal squere tubes, textile, buttons
Dimension: 75cm x 65cm x 8cm
2017



Bowl of Cereal
Adam Cruces and Louisa Gagliardi



3
“Fragile reverie bleaches the real and paints over it, washed out, without depth, in thin, contiguous layers, a somnolent world into which the dreamer sinks and is lost,” wrote Jean-Luc Nancy about the dream, the “fine thread” of which “entraps in the way a spider holds prisoner the antennae of an insect caught in its web.” Upon waking you lack edges, as you did in dreams. Were you caught in silk the same way? You wished for landscapes but were short-sighted (or delimited by some non-ontogenical actor). Each meal illuminated by a scrying candle, you wish yourself less porous, because entry and exitways required management, and your work life was overwhelming enough. Your failures named you Pierrot, so you tighten your ruff.

4
A second rider enters your car and chooses the passenger seat. They connect their phone to the car stereo, invoking some fungible barrage of downtempo synths, as if to say, “even my ipseity has a sonic quality to it.” You understand this desire as always already occurring, though it sublimates differently depending on the month or year or sales quotas. Too much time had passed for a lapsarian question to remain. To avoid introspection, you turn your head and fixate on the Pacific, knowing that the silk-bearing spider wishes it were the pelagic Halobates. Aſter all, the Halobates is more altruistic, able to be collected by researchers to serve as testing subjects for oceanic metal pollution. Access to such a vast body––what bliss––to uncover the lie of every Pret a Manger and have each area of Earth as one’s home, to become the terminal cartographer. Instead she is stuck with leaves.

5
Later you find you’ve accumulated foreign metals in your blood, much like the Halobates. Your last chemistry panel in August measured potassium, carbon dioxide, glucose, creatinine and the anion gap, which you tried to calculate yourself using this formula:
[Na+] - [Cl-] - [HCO3-]
Quick attempts at mathematics helped alleviate your consistent brain fog, but now you were reduced to only your garments: bronze frames, 95% cotton denim, dyed lamb’s wool. Wool made you feel like the spider. Your enemies had resigned themselves to geophasia. I thought this ability to morph beneficial to my job prospects? Returning to the scrying candle you find its wax depleted. You return to your resting place in the stage of the amphitheater and capitulate to anonymous limbs under spotlights.

Tastes Like Headaches acknowledges contemporary lifestyle as an assemblage of rickety, fraught conditions and symptoms that are simultaneously viewed and maintained as solutions. Collaborative works by Adam Cruces and Louisa Gagliardi show obscured faces in lightless backgrounds; Cruces’ acrylic painting over Gagliardi’s digital works printed on PVC vinyl present physical interventions over a subject that has succumbed to the blurry, furtive nature of a machinic sociability and economy. Additionally, Cruces’ exhibits works made from mesh, creating outlines made from popcorn. Sculptural works using Elizabethan-era ruff make reference to aristocracy, classical painting and how bourgeois lifestyles are sublimated today through garments. Finally, video works by Cruces yield to quotidian situations in which subjects are resigned to adverse spatio-temporal conditions, using Uber and the spider’s web as examples.
Indriķis Ģelzis’ sculptures made with steel tubes are outfitted with anthropic symbols that interrogate the idea of direct, universal realism and reflexes amongst contemporary art objects. His works read as glyphs that are unable to be decoded using a conventional, inchoate lexicon of mere abstraction. Moreover, the sculptures’ lack of a clear, conceptual telos is a rupturing of the claim that the object’s affectability and creation always already contain a narrative substructure that easily afford understanding.

Text by Kyle Thomas Hinton. A writer and researcher based in Los Angeles.