Tastes Like Headaches

Indrikis Gelzis and Adam Cruces with Louisa Gagliardi
kim? Contemporary art centre. Riga, Latvia.

“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.

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.

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.

Art Viewer
Echo Gone Wrong
Footnotes On Art

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

Adam Cruces & Louisa Gagliardi
Acrylic and ink on PVC


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

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

Adam Cruces
Ruff collar and grey hair

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

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

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

"We live in an era of social technology, where the manufactured technical equipment is associated with cognitive capital. Technology, which acquires qualities of human labour - efficiency, intelligence, wisdom, communication, etc., is transformed into fixed capital of machinery.
The new achievements, such as additive manufacturing, package delivery by drone or Tesla Autopilot, attest to a more automated and computerized future. The world is being rebuilt to communicate with itself, as well as to communicate without the assistance of human consciousness.

These wall-based sculptures find themselves in a constant flirtatious mode with graphic statistics, which cover the society as a whole, allow one to compare and contrast social observations, and, as a result, make it possible to draw conclusions and make predictions. By designing these models, which also mark the cartographic contours, they serve as local phenomenology, derived from global social structures. Incarnating these linear metal sculptures with fabric fragments, they communicate with their body language or gestures, depicting emotions and function, physical activity or posture. As a result, these abstracted headless figures, reflect upon the mind’s independent structure or reality, which attests to a programmed process, which results in a mechanical or daily situation."

I. Gelzis