Kaspars Groševs 

Live With/Think About  

solo exhibition  

 

Opening: 30 April  6–10 p.m. 

Opening performance by interdisciplinary performance artist 011668 (US) 

 

Exhibition dates: 1 May–7 June 2026

Venue: Kim? Contemporary Art Centre

Curated by: Zane Onckule 

 

 

From 30 April 2026 to 7 June I will mostly be found at Kim? Contemporary Art Centre in Riga – for a while I will be “living and working” here. 

 

This is not an exhibition, performance or action; it is a small sketch of life: 

for a while my apartment is available for short-term rent
for a while I sleep and walk here, sit on the internet and paint
for a while I listen to music and play music
for a while I think about art and create art
for a while I exhibit artworks
for a while I sell art and exchange art
for a while my living and working space is open to the public
for a while I make mistakes
for a while I “live and work” here

K.G.

 

Live With/Think About functions simultaneously as proposition and condition: a way of remaining within perception while also examining how it is produced and sustained. In Kaspars Groševs’ exhibition at Kim?, marking the artist’s return thirteen years after his last solo presentation here, sound, image, display, and social infrastructure merge into a continuous environment where separation into discrete mediums dissolves. What is presented appears less a collection of finished works than a situation actively shared and persistently reconfigured through use. 

 

“Living with” and “thinking about” operate as interlacing modes of attention that hold experience at the point of ongoing formation, where repetition begins to accumulate weight, where attention drifts and returns, and where fatigue or small intensities become part of the material itself; thinking moves within this field, slightly out of phase, while what is perceived sustains legibility but never stabilises. 

 

This logic becomes concrete in the exhibition’s spatial and procedural setup, where production and display are deliberately entangled: a small shop awaiting visitors at the entrance extends the system outwards, through T-shirts, zines, tapes, and printed matter produced on and off-site and immediately circulated; a workshop area keeps the creative process exposed, maintaining visibility of processes so objects remain legible as unfolding operations; a shared room functions as a space for listening, jamming, performing, tattooing, getting one’s nails done etc, and informal exchange in which private reference and collective attention continually intersect; elsewhere rehearsals are held as a working condition within the same continuum of activity; and a sleeping zone constructed from reused materials folds rest back into the same operational rhythm, integrated within the broader field of production. 

 

Groševs’ practice extends beyond the exhibition itself into the infrastructures that sustain it –  running an independent space, curating, producing art and making music – roles interwoven across a shared continuum, alongside a quieter pedagogical dimension grounded in proximity, where knowledge circulates through doing. The economic and material conditions surrounding this work remain close to the surface, shaping how the system functions and becoming part of its internal logic as a practice formed under continual pressure of self-maintenance in which making, organising, and sustaining blur into one another. 

 

Analogue forms such as tapes and materially grounded processes serve as working tools that introduce duration, resistance and friction into a present oriented toward speed and resolution, allowing perception to slow enough to remain unsettled and resist fixed clarity. More broadly, tactility, imperfection, inconvenience and ambiguity operate as structural conditions shaping how things are produced, circulated and encountered, keeping meaning slightly unstable and responsive across shifting contexts.

 

At the level of infrastructure, Live With/Think About shifts attention away from broadcast-scale distribution towards smaller, embedded constellations of exchange in which proximity becomes a method, and relations, objects and actions share the same field, enabling direct mutual influence across layers of mediation. The exhibition ultimately stages a continuous state of working-through across resolution. It unfolds as a live system, a life livestream of sorts shaped by use, co-presence and ongoing adjustment. Within it, persistence, production and reflection circulate in the same loop – an ongoing negotiation with the conditions of making and staying afloat. 

 

 

Kaspars Groševs (1983) holds bachelor’s and master’s degrees in visual communication from the Latvian Academy of Arts. Since 2014, he has been a co-founder and curator of the artist-run gallery 427. Since 2006, Groševs has participated in both Latvian and international exhibitions, performances and cultural events as an artist interested in ideas around art, curatorial practice, and sound practice processuality, as well as the dissolving and blurring of their boundaries, operating at the crossroads of different creative communities. Groševs has worked with experimental electronic music since the late 1990s, and sound in his exhibitions often appears as an extension of visual methods, in which painting also plays a significant role. 

 

He has exhibited at the Latvian National Museum of Art, the Latvian National Library, Riga Smallest Gallery, Noass, TUR space, Kim? Contemporary Art Centre, Cēsis Contemporary Art Centre, Medūza, the Radvila Palace Museum of Art, CAC and Editorial (Vilnius), darkZone (New Jersey), Harkawik, No Moon, and Art in General (New York), Futura (Prague), BOZAR, Shanaynay (Paris) and SIC (Helsinki). Groševs has curated various exhibitions at Garage Gallery and City Surfer Office in Prague (2022), Skulptur Institut in Vienna (2022), Kim? Contemporary Art Centre (2025, 2020, 2019, 2015), P////AKT in Amsterdam (2020) and Polansky Gallery in Brno (2019), among others. Since 2003, he has produced radio programs on radio NABA. In 2017, together with Labais Dāma, he co-founded the cassette label No Sex Just Talk. 

His works are included in the collection of the Latvian National Museum of Art, as well as in numerous private collections in Latvia and abroad. In 2020 and 2022, he was nominated for the Purvītis Prize. 

 

Supported by: Ministry of Culture of the Republic of Latvia, State Culture Capital Foundation, Riga City Council, Kokmuiža, Media Port 

 

Artist acknowledgements: Fulminare Soundsystem, Gatis Gruzinskis, Kwan Kit Lau, Ulrika Skakovska, Sarma Emīlija Tukāne, Eliass Zandmanis 

 

Kim? Contemporary Art Centre and exhibition team:   

Executive Director: Evita Goze  

Program Director: Zane Onckule  

Communications Manager: Kristiāna Bērza  

Sales Director: Dārta Purvlīce  

Mediators: Emīlija Austra Lodiņa, Alise Sedleniece, Betija Briede, Linda Šterna, Poļina Gasparoviča 

Technical team: Aldis Bušs, Andris Maračkovskis, Eliass Zandmanis 

Design: Anna Ceipe   

Latvian proofreading: Ilze Jansone  

English proofreading: Will Mawhood