simple,
almost austere
a human-made object
a message
a mirror of order
or a two-faced coincidence? evolution formed
historical moments
animals
the moon
a point of recognition
or a chapter in genesis?
emotion became
an attempt to translate
what was beauty before it was seen hold on to this thought
maybe it was never meant
for spectators.

“Remembering what it was like to be sung to sleep?” by Sarah Kürten, poem, 2024 @sarahkuerten

FLAT$ warmly, silently and fully flamed invite you to our upcoming exhibition in Brussels with

works by Graham Wiebe, Hanna Umin, Indriķis Ģelzis and Jieun Lim. —

Graham Wiebe (b. 1994) lives and works in Winnipeg, Canada. He has recently exhibited at Final Hot Desert, London; Franz Kaka, Toronto; Disneyland Paris, Perth; Utah Museum of Contemporary Art, Salt Lake City; Final Hot Desert, Great Basin Desert; Jargon Projects, Chicago; and The Living Art Museum, Reykjavik; Wiebe has a forthcoming two-person exhibition at Petrine, Paris.

Hanna Umin (b.1990) is an artist based in NYC, she navigates desire, labor, and denial: she desires, she labors, she is denied. She was born 1990, raised in Philadelphia, received her degree in Painting at Camberwell College of Arts in London, 2013. She has had solo exhibitions at mcg21xoxo in Matsudo, Japan; at Love in Manhattan; and at Mole End, in Queens. She has participated in multiple projects with Underground Flower, No Moon, and Gern en Regalia.

Jieun Lim (b.1983) is a Korean artist based in Düsseldorf and Seoul. She studied fine arts at the Kunstakademie Düsseldorf, where she received her diploma and Meisterschüler in 2018. In Korea she holds a BFA in painting from Hong-ik University in Seoul.

Indriķis Ģelzis (b. 1988) lives and works in Rīga, Latvia. Ģelzis holds an MA in Visual Communica- tion from the Art Academy of Latvia (Rīga, LV) and a Post-Graduate degree from HISK – Higher In- stitute for Fine Arts (Ghent, BE). Indriķis Ģelzis’ works can be interpreted as landscapes of algorith- mic realism. Selected solo and two-person shows: Watery Day’s Eye, Kim? Contemporary Art Centre (Riga, 2023); VAGABOND / A Place Hard to Place, Jenny’s (New York, 2022); Yawn holding Fields, Tatjana Pieters (Ghent, 2022); Figure of Everything, Castor (London, 2020); Pause for the Cause, CINNAMON (Rotterdam, 2019); TABLEAU, ASHES/ASHES (New York, 2019). Recent group ex- hibitions: The 4 Gate Connection, Tatjana Pieters (Ghent, 2020); Doors of Paradise, Union Pacific (London, 2018); Superposition, Joshua Liner Gallery (New York, 2018).