Medūza, Vilnius
Opening: 26.02.2026
Dates: February 27 – April 11
Curated by Žanete Liekīte
Groševs was born in 1983. For several years, however, his Facebook profile listed his birth year as 1913. The joke persisted until it became biologically impossible. Yet this gesture lingers. Kaspars Groševs’ solo show Feedback treats time as a signal looping back on itself. The works in the show carry the charge of something belated and anticipatory at once.
Terence McKenna’s Timewave Zero theory proposed that time behaves less like a straight road and more like a fractal spiral: patterns repeat, but each return comes with greater intensity. History, in his view, doesn’t progress politely – it accelerates toward rupture. His psychedelic cosmology treated culture as a kind of operating system, one that can glitch, loop, or crash.
Groševs’ paintings wave back to those early twentieth-century attempts to invent spiritual grammars through distortion, chromatic excess, and rhythmic patterning. If abstraction once promised transcendence through formal coherence, Groševs stages coherence tipping into apophenia: the compulsion to perceive structure where there might be none. Metaphysical longing here encounters a feedback condition in which pattern risks sliding into paranoia or hallucination – yet still insists on the possibility of vision.
Figures emerge mask-like, their smiles hovering between playful and sinister. Color operates affectively rather than descriptively; surfaces pulse in saturated reds and pinks that collapse depth into the atmosphere. The works oscillate between sincere and unsettling. A smile should signal warmth, but when it doesn’t correspond to context, or appears detached from emotion, it becomes eerie.
Many of the drawings Groševs first created sitting in the bars, cafes, together with friends amid conversation, allowing the hand to move ahead of the mind. The procedure nods to automatism but also operates as a tactical refusal of overcoding. Form precedes language; the image arrives before interpretation can stabilize it. This reminds how, as a teenager, sound artist and theorist Brandon LaBelle wrote to William S. Burroughs and received a postcard in reply bearing a single sentence – “Words are your enemy.”
The sound installation No Input Just Output encompassing the space is an acoustic feedback loop that occurs when a system begins to hear itself and amplifies that signal until distortion replaces clarity. In Feedback, Groševs stages a cultural equivalent.
Kaspars Groševs (1983) is an artist, musician and curator based in Riga. In 2014 he co-founded 427 gallery – an open and experimental art space interested in connecting communities, daring ideas, confabulations, and adventurous art practices. Working with experimental electronic music since the late 1990s, Grošev’s exhibitions often feature sound as an extension to visual methods, in which the practice of painting also plays an important role.
He has exhibited at Cēsis Contemporary Art Centre, the National Art Museum in Riga, Editorial in Vilnius, darkZone in New Jersey, No Moon and Art in General in New York, Futura in Prague, BOZAR in Brussels, Shanaynay in Paris, SIC in Helsinki, Kim? Contemporary Art Centre in Riga.
Groševs has curated a variety of exhibitions at the City Surfer Office in Prague (2022), Skulptur Institut in Vienna (2022), Kim? Contemporary Art Centre in Riga (2020, 2019, 2015), P////AKT in Amsterdam (2020), Polansky Gallery in Brno (2019), and several off-spaces in Riga. He has been working at Radio NABA since 2003 and has co-run the cassette label No Sex Just Talk since 2017. Two-time finalist of the Purvītis Award (2021, 2023).
Supporters: State Culture Capital Foundation