2001 “Contemporary Utopia”. – International Contemporary Art Exhibition. Exhibition Hall Arsenals. Riga/Latvia.
1999/2000 “After the Wall”. – Art and Culture in post – Communist Europe. – Moderna Museet, Stockholm/Sweden; Museum Contemporary Art, Ludwig Museumt, Budapest/Hungary; Nationalgalerie Berlin, Hamburger Banhof, Berlin/Germany.
1999 Solo exhibition “Plus Minus”. – Baltic Art Center Björkanderska Magasinet, Visby/Gotland/Sweden ; “Venice Biennale”. – 48th International Exhibition of Contemporary Art ; Chiesa di San Giovanni Novo (San Zaccaria), Venice/Italy.
1998 “Faróis Distantes. Distant Lighthouses”.- Fabrica Porto Brandão, Lisbon/Portugal; Edsvik Könst & Kultur, Sollentuna/Sweden. “Cool Places”. – the 7th Triennial of Contemporary Baltic Art. Contemporary Art Centre, Vilnius/Lithuania.
1997 “Ikkuna/Peili. Window/Mirror” – Contemporary Art from Finland and Latvia.- Exhibition Hall Helsingin Taidehalli, Helsinki/Finland; Museum of Art Arsenals, Riga/Latvia.
1996 “Personal Time. Art of Estonia, Latvia and Lithuania 1945 – 1996”.- Centre for Contemporary Art Ujazdowski Castle, Warsaw/Poland. “Container ’96. Art Across Oceans”.- Copenhagen city space, Copenhagen/Denmark.
1995 Solo exhibition “East West South North”.- Club Slepenais eksperiments, Riga/Latvia ; “Misfits” – the 6th Triennial of Young Baltic Art.- Contemporary Art Centre, Vilnius/Lithuania.
1994 “State” – the 2nd annual Soros Center for Contemporary Arts – Riga exhibition.-
My interest is in various aspects of visual perception, using the history of European painting, photography and film. The analysis of different attitudes towards space and time in various historical periods plays an important role.
The question how we perceive and what we perceive within the context of time, place and cultural background, is the main preoccupation of my projects.
Another feature of my work is to make it site-specific even in the conventional settings of museums or galleries. The work I create is an investigation of our perception and interaction with the world around. It is natural that the viewer is part of this act of investigation because the artwork is only a reflection or provocation to see, to notice the simplest structures which in an everyday situation can be obscured.
DANS LE CADRE DE
- Les Chemins de l’Europe