Temporary Exhibitions
Latvian artist Māris Čačka has developed a distinctive hybrid approach to abstract expression, in which painting and graphic art merge into an organic visual language. Art historian Inga Šteimane (Latvia) describes his canvases as layered both technically and conceptually, unfolding like imaginary conversations between the artist and his peers about the state and meaning of the world. The works pulse with intuitive energy, seeking emotional balance through fields of color, shifting light, and shadow. In doing so, the artist constructs open rhythmic structures that are both ornamental and symbolic.
The exhibition Direct Dialogues deepens this ongoing exploration of conversational structures. The recent large-scale canvases become visual journals. Each contains a moment of thought, encounter, or reflection, expressed not through words but through the language of materials.
Polish art historian Sylwia Caban has noted that Čačka’s works record the continuous emergence and dissolution of conversations: with oneself, with others, with silence, with feeling.
Curator Tatjana Černova, meanwhile, sees this cycle as an ongoing negotiation between inner and outer speech, where perception itself is shaped by the artistic gesture.
This exhibition focuses on direct human connection—that moment of encounter when the thoughts and feelings of two individuals overlap within a shared space. To articulate the layered complexity of such interactions, Čačka employs his distinctive cyclical process: he applies paint and partially removes it, adds monotype impressions and transparent layers, and disrupts the surface through graphic interventions. Through this rhythm of addition and subtraction, structures emerge that reflect the oscillating flow of conversation, in which the voices of interlocutors intersect, respond, and transform.
As the artist states: “Dialogue is for me more than an exchange of words. It is a tension between presence and silence, impulse and reflection. Through painting, I create the space in which this tension becomes visible.”
The layers within the works become an archive of emotional resonance—traces of what has been spoken and what remains unspoken. Rather than seeking closure, Čačka leaves the discussion open, inviting viewers to intervene and continue the exchange within their own perceptual space.
In Chișinău, the exhibition Direct Dialogues gains new relevance. Here, conversation is not merely an aesthetic category but a condition of coexistence. The layered compositions suggest a world in which experiences and perspectives interact, sustaining tension while keeping open the possibility of balance.
This exhibition is an invitation to attentive listening, moments of reflection, and the continuation of dialogue.
