0\u00a05.04.2025. \u2013 08.06.2025.<\/strong><\/p>\nKim? Contemporary Art Centre presents J\u0101nis Dzirnieks\u2019 second solo exhibition at the institution, following the artist\u2019s two-month residency at ISCP, New York in the autumn of 2024, as the recipient of the Kim? Residency Award. In New York, small corner stores \u2014 bodegas \u2014 can be found on almost every block. One such store, called\u00a0Healthy Friends, offers sandwiches and fast food that are far from anything actually healthy. Yet the names of these establishments often include words like\u00a0healthy,\u00a0natural,\u00a0organic, and other slogans praising naturalness \u2014 phrases that serve no purpose beyond drawing attention to a product range oversaturated with chemicals. The works in the exhibition include scanned scribbles and watercolor drawings, later digitally enhanced, printed, and then physically modified. These drawings depict various creatures in stages of decay and decomposition, merged with illustrations of refrigeration system optimizations. In a way, the process of decay can be seen as a form of optimization \u2014 much like the creation of these works could be viewed as a kind of self-reprocessing. Optimization, as such, is inevitable in both living and non-living organisms, as well as in economics, politics, sociology, and beyond. The prevailing high level of distrust in bodegas \u2014 from overpriced trivialities to the tastiest snacks \u2014 serves as a fitting metaphor for Dzirnieks\u2019 reflections on themes of technological efficiency and environmental degradation, which are explored within the exhibition through elements of spatial installation and other objects created specifically for the show.<\/p>\n
J\u0101nis Dzirnieks\u2019 (1992) work cuts through the facade of technological efficiency, revealing the unsettling and often sinister forms that emerge from our relentless drive for optimization. By repurposing industrial remnants into thought-provoking installations, Dzirnieks prompts viewers to confront the ecological and societal costs of progress. Solo exhibitions include:\u00a0Tiled River\u00a0at Gallery 427, Riga;\u00a0Flat Tire\u00a0at Robert Fruinstraat 56, Rotterdam;\u00a0Gaidot n\u0101kamo min\u016bti\u00a0at Kim? Contemporary Art Centre, Riga; and\u00a0Sharp Horizon\u00a0at Nemo, Eckernf\u00f6rde. Duo exhibitions include:\u00a0Snowlake Blockbuster\u00a0(with Alise Anna Dzirniece) at Extra City, Antwerp. Group exhibitions:\u00a0Soap Opera\u00a0at City Surfer Office, Prague;\u00a0Agents of Perception\u00a0at Kai Art Center, Tallinn;\u00a0Midnight Sunburn\u00a0at Het Nieuwe Instituut, Rotterdam; and others.\u00a0He is the recipient of the 2024 Kim? Contemporary Art Centre Residency Award and undertook a residency at ISCP, New York.<\/p>\n
\n![\"\"](\"https:\/\/sporta2.com\/wp-content\/uploads\/2025\/04\/Kim_Nellija_Agassi_aftermath-visual-1-1.jpeg\")
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Nelly Agassi solo show\u00a0\u201cAftermath\u201d<\/strong>
\nCurated by T\u012bna P\u0113trsone<\/strong>
\n05.04.2025. – 08.06.2025.<\/strong><\/p>\n\u201cWe live in a time when the past seems more unpredictable than the future,\u201d wrote the British historian Eric Hobsbawm\u2014a sentiment that feels ever more prescient as headlines offer reinterpretations of history with increasing frequency. History has never been a fixed entity\u2014it has always been rewritten, reexamined, and reinterpreted. Yet today, these processes have reached an unprecedented intensity: historical understanding is entangled in ideological battles, muddled by the \u200boversaturation of digital media, and increasingly weaponized as a tool in political discourse. When narratives compete, overlap, and shift in form, how can we orient ourselves among the versions of history they propose?<\/p>\n
This exhibition unfolds in a time of deep instability\u2014amid wars, shifts in power, and ideological rupture. Its central motif is rooted in the notion of \u201caftermath\u201d as a layered, nonlinear, and continuously evolving process. The word\u00a0aftermath\u00a0first appeared in 16th-century Middle English, when farmers used it to describe grass that regrew after mowing. Over time, it acquired a broader metaphorical meaning\u2014referring to the consequences of an event, especially in the wake of disaster, war, or major societal upheaval. Thus, the term encompasses both devastation and the potential for renewal\u2014a cyclical process in which the past never truly disappears but transforms and returns in altered form. This notion of cyclical return forms the conceptual axis of Nelly Agassi\u2019s first solo exhibition in the Baltic region.<\/p>\n
At the heart of Agassi\u2019s practice lies the idea of a \u201cbiography of site\u201d\u2014an approach that treats a site\u2019s context as both a source of inquiry and a material in itself. During a week-long visit in Riga last November, Agassi visited local museums and wandered through the city, collecting visual impressions and engaging with traces of historical presence. These impressions reappear in her installations as fragments, gestures, and materials imbued with symbolic charge.\u00a0Aftermath\u00a0becomes both a meditation on what has been and an inquiry into a future (or a history?) still taking shape\u2014still possible.<\/p>\n
Nelly Agassi (b.1973, Israel) is a Chicago-based multi-disciplinary artist whose practice encompasses performance, installation, video, animation, textile, and works on paper. Her site-specific works explore the intersection of personal and architectural narratives, revealing fragments of spatial biography through the lens of her own lived experience. Working primarily with materials, body, and space, Agassi creates intimate dialogues between public spaces and their inherent histories. Agassi received her MFA from Chelsea College and BFA from Central St. Martins, London. Her work has been shown internationally at prestigious institutions including Tate Modern, The Israel Museum, Tel Aviv Museum of Art, La Triennale di Milano, and Zacheta Warsaw. In Chicago, her work has been exhibited at The Graham Foundation, Chicago Cultural Center, The Arts Club of Chicago, Hyde Park Art Center, and Poor Farm. Her work was recently acquired by The Art Institute of Chicago. Other notable presentations include the ORD T5 commission project at O\u2019Hare International Terminal, WHOISPOLA Warsaw, Viennacontemporary art fair, and Fujiyoshida textile week (all in 2023). Agassi is currently an SAIC Residential Research Fellow at the Art Institute of Chicago Research Center. She is represented by Dvir Gallery and WHOISPOLA.<\/p>\n","protected":false},"excerpt":{"rendered":"
This spring, the Kim? Contemporary Art Centre in the SPORTA 2 quarter offers an opportunity to experience two vivid and conceptually multilayered solo exhibitions \u2014 \u201cHealthy Friends\u201d by J\u0101nis Dzirnieks and \u201cAftermath\u201d by Nelly Agassi. While the artists differ in their approaches and chosen media, both exhibitions are united by a shared interest in the […]<\/p>\n","protected":false},"author":4,"featured_media":698,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2],"tags":[],"acf":[],"yoast_head":"\n
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