Inga Lāce

  • Melike Kara, How She Shapes Us, 2021, wool, 20 1⁄2 × 38 5⁄8".

    Melike Kara

    For her first show in Georgia, Cologne-based Kurdish German artist Melike Kara gathered new works—paintings, wall-mounted crocheted works, “knot sculptures” made from PLA filament, and a video—under the title “How She Shapes Us.” “She” is the Munzur River, which flows through the artist’s homeland—and, as if mirroring a river bend, the video Munzur (all works 2021) was projected on a curved white-brick wall in the staircase leading to the gallery’s second floor. Composed of three vertically oriented cell-phone recordings, the video follows from different angles the ceaseless flowing and swirling

  • Danutė Kvietkevičiutė, At the Speed of Thought, 1978, wool, synthetic fabric, 111 3⁄4 × 105 1⁄2". From the Baltic Triennial 14.

    Baltic Triennial 14

    When it started in 1979, the Baltic Triennial featured mostly young artists from the Baltic republics of the Soviet Union; the event was expanded after the restoration of their independence to make global trends more visible in the region. This year, for the first time, the organizers focused their attention on contemporary and historical artistic practices in Central and Eastern Europe (CEE). Curated by Valentinas Klimašauskas and João Laia under the title “The Endless Frontier,” the triennial was a sensitive and kaleidoscopic mapping of common grounds and rifts within the region’s economic,