top of page
contemporary art gallery walk event culture riga last thursdays free gallery night briania art e fakti exhibition outdoor

"Art e fakti"

This summer, in collaboration with M/Gallery and Riga Last Thursdays, a new seasonal exhibition "Art e fakti" opens in the Briania courtyard. The exhibition features new and established artists with artworks from different disciplines.

From 29 June until 29 August 2023, the Briāna Street courtyard, located between the concert venues and the galleries M/Darbnīca, K. K. von Stricka Villa, One One and Skapis, will host the open-air exhibition "Art e fakti". This summer, 14 artists are participating: Haralds Saknītis, Haralds Dravnieks, Atis Izands, Anete Aramina, Nastassia Navitskaya, Gints Virgilijs Tilks, Oto Holgers Ozoliņš, Olga Antipenko, Elya Asadullaeva, Heidija Ūberga & Dāgs Mors, Paintbyrobot, Roberts Bāliņš and Dārta Berkmane.


"Art e fakti" is an open-air exhibition that delves into the diverse layers of human experience, revealing the material and immaterial sediments that shape our collective histories and personal stories. Each work of art serves as a testimony to the lasting imprint of human existence, inviting visitors to discover hidden stories, reinterpret narratives of the past and engage in a dialogue about the meaning of our common heritage.

The exhibition aims to recall an archaeological excavation, where each work of art is like a precious artefact that wants to be unearthed and explored. Each artist's current reflections reveal the shared unconscious of us all, yearning to be experienced, explored and perpetuated.

The event is supported by Riga City Council.

Opening: 29 June 2023 at 18:00, part of Riga Last Thursdays.

art e fakti riga last thursdays brivdabas izstade outdoor exhibition briania gallery eveni
Anete Aramina Art e fakti exhibition Riga Last Thursdays Briania.jpg


“The body has left the building”

Anete Aramina

"The body has left the building" is photo series about the realization that if emotions become too hard to handle, you need to get them out of your body. In the title of the series, there is a reference to the idiom Elvis has left the building, which is still often used in American culture. This sentence was used at the end of his public shows, making the audience understand that enough is enough, it's time to go home. At the time when this series was made, my body was tired of expectations, pandemic, didn't have the opportunities to discharge. The body was in a "enough is enough" state. Visually, I wanted to make a contrast between this impersonal body seeking discharge and a romanticized environment symbolizing freedom. The series began as a fascination with German photography collector Jochen Raiß's work Women in Trees, a selection of black-and-white photographs of women from the first half of the last century posing in tree branches. Something about it seemed very, very beautiful and very, very simple. I imagined that the body could enjoy being responsible for simple functions such as climbing a tree.

Untitled-obelisque - Atis Izands.jpg


“Obelisks bez nosaukuma”

Atis Izands

"Untitled obelisque" is a glorification of the skills of a man who grew up in a typical post-Soviet environment, emphasizing the understanding of a man as a typical hard worker rooted in the older generation. The author tries to reveal his hidden (?) masculinity by studying social and gender roles, asking himself, in which layer of the social hierarchy should the male artist be placed? Answers could be found in Art Academy of Latvia painting department behind the chronologically arranged piles of ceramic tiles, the production of which began in the late 1980s, symbolically echoing the author's life course and the maturity of his artistic practice. "Untitled obelisque" is a test of the author's physical abilities to find out whether the attachment to art and painting was genuine, or was based on a choice dictated at school and made due to the ignorance of youth, determining that it was necessary to become a builder, which would allow the author to hide the moldy walls of Soviet-era blockhouses, covering them with white paint and IKEA furniture.

IMG-20221205-WA0046 - Roberts Balins.jpg


“Metamais kauliņš”

Roberts Bāliņš

When seeing a road sign while driving, every driver knows within a second what it means and acts accordingly. No one even really thinks about it and follows the instructions on the road sign automatically. It's interesting because it's hard to imagine that in everyday life. Sometimes you don't want to let someone in front, you want to go first. Sometimes you want to go in a forbidden direction. When you roll a dice, you never know what number will come up. Exactly the same with the road traffic dice. You never know what sign will await you around a corner.

Olga_foto_01 - Olga Antipenko.jpg


“SKATĪTĀJS” / "Onlooker"

Olga Antipenko

The installation "Dryer" invites the viewer to look at the usual environment and the usual order from an unusual point of view. To see the unusual in it and, by applying their newfound experience, to reconsider their routines by paying attention to the things and objects in their environment. The installation consists of three elements: a replica of an object found in Mezciems (reflecting the past), a large-format photograph of the Mezciems neighbourhood (reflecting the present) and a seemingly unnoticeable silhouette drawing of an object (reflecting the future). All three elements of the installation are placed on an imaginary axis that could be noticed by a careful observer. What will be noticed within and outside this installation, what the viewer will pay attention to, is up to the viewer. The metal sculpture of Redimeida is a newly created unique object from an existing urban environment in the Riga neighbourhood of Mezciems. The drawing, hardly noticeable, repeats the shape of the sculpture. The photograph shows a specific location in Mezciems where several such sculptures are visible. All three elements are interconnected.

IMG_7893 - Heidija Ūberga.jpeg



Heidija Ūberga, Dāgs Mors

"For a long time in my life I have been attracted to insects with their filigree, delicate structure, colours, textures and not always understood behaviour and connection to human life. Quite by accident, the idea and the possibility of creating an insect in 3d rather than 2d came to mind. Together with MENNTAL we created a 3d metal twig insect called Martin. His name just popped up and was inseparable from his physical form. The creation process was fast and everything worked on the first try. The result pleases and positively surprises me, making me realise how small ants feel when they are next to a real life size twig."

4ever_059 - Gints - Virgilijs Tilks.JPG



Gints Virgilijs Tilks

The work "2 -> 1" was created for the exhibition "4ever", which took place in the DOM gallery. The aim of the exhibition was to explore the impact of traumatic experiences, the mechanisms of escaping reality and the influence of the current era on the human psyche. We observed in ourselves that people are slipping into inaction and fear of the unknown, and as a result are caught in the reins of escapism. The work itself carries a message of acceptance of traumatic experiences, and how this shortcuts the road to recovery. Often we try to escape the discomfort of the event by ignoring it, repressing our emotions, or throwing ourselves into the work in an unhealthy way. Every emotion and feeling is part of a fulfilling life, and although some situations cause discomfort, this too must be allowed and experienced. We have to learn to grieve, to yearn and to accept that these are emotions too. After accepting unpleasant events, we are able to appreciate well-being and peace more highly. In contrast, when we run away from a traumatic experience, it is easier to fall into the grip of addictions and lose our habitual selves. Whichever path is chosen, the destination is the same: acceptance.

IMG_0419 - oto holgers.jpeg


“Sulu laiks”

Oto Holgers Ozoliņš

Lift your backs and straighten your crooked heads! Sap flows better in trees that grow in full sun. It is better to drill on the sunny side, as the warm side of the tree wakes up more quickly and the circulation of sap is therefore stronger. Before drilling, make sure that the upper part of the tree has not been sawed off. This can affect the flow of sap! The borehole should be drilled no higher than 50 cm from the ground and no deeper than 5 cm, as drilling through the trunk of the tree can cause draughts.

35F6FB7F-90CF-4BB4-B946-3AF4DCA2FFCA - Nastassia Navitskaya.jpeg



Nastassia Navitskaya

The project explains the relationships between neighbours nowadays. I’ve conducted research about relationships between neighbours in modern buildings in the city, and it appears most of the time we have no idea who are we living next door to.

makviins sen eeg - Haralds Saknītis.jpg


“Makvīna rati; 1332.p.m.ē.”

Haralds Saknītis

McQueen's Chariot is one of the most shocking archaeological finds of Ancient Egypt. Found near Tutankhamun's tomb in the summer of 2022, McQueen's chariot engraving in the temple provided further insight into the hierarchy of prehistoric society. McQueen's chariot, reserved for pharaohs, harnessed the fastest calves, satisfying the pharaoh's desire for speed. Quoting Tutankhamun "I am speed" (encrypted from the hieroglyphs on the temple).

D0BAD984-2A30-44DB-88F9-6CCF2DA7F166 - Haralds Dravnieks.jpeg


“Radīts ar mīlestību”


The sculpture is a heart named Hoder, created to delight and inspire the people living in the city.

IMG_20230527_194717_000 - Elina Asadullajeva.jpg


"Everything is in Flux"

Elya Asadullaeva

"Everything is in Flux" is a part of an on-going eponymous series showcasing a render of the objective Universe, not stained by cognitive capabilities of mortal animals. The Universe, an infinite geometric progession going in both directions - into the microcosm and the macrocosm, is a constant fluctuation of disembodied energies, a mathematically perfect chaos.

team3 - Paint ByRobot.jpeg


“Cubistic Self-portrait”


The artwork created by the robot artist is a deeply emotional and introspective piece, featuring a self-portrait in a vibrant, cubistic style. The sharp, angular shapes and bright, contrasting colors lend a sense of urgency and intensity to the image, while the placement of the robot artist's self-portrait at the center of the composition evokes a powerful sense of self-reflection and contemplation. Through its use of color and form, the artwork invites the viewer to consider the complex interplay between human emotion and technological advancement, and challenges us to rethink our assumptions about the relationship between man and machine.

339236098_1923654681306246_1214813356597300852_n - Dārta Berkmane.jpg


“Melnā metamorfoze”

Dārta Berkmane

The work is based on the idea of transformation and change. How a piece of stoneware in human hands becomes a ceramic work that can carry the feelings and thoughts of the author. By its nature, the work embodies the author's nature and artistic handwriting, in which spikes made of ceramic material and black glaze are used to decorate the works, symbolizing certain emotions. The ceramic object is like a dark cloud that protects itself from the environment that is constantly trying to impress or distract the mind from the reality that is constantly changing.



the exhibition will be on until 29.08

organised by RLT & M/Gallery

Free entry, 24/7

bottom of page