KATRĪNA MARTA RIŅĶEArtist Statement
CVPortfolio un CV latviešu valodā

Katrīna Marta Riņķe (b. 1997, Cēsis) is a visual artist curating the profound, silent space between human consciousness and the living world.


Client ProjectYear
Studija Space
Conversations around Water2026 TBA

ISSP
Dissolving Landscapes artistic research2026 TBA

ORBĪTA
Conversations around Water2026 TBA

EASA
THE SUMMER OF CHESS, Playland2026 TBA

Fotofestiwal
Heritage Lens group exhibition (VISIT BEFORE)28.06.2026

Studija Space
Artist Residency
2026

Heritage Lens
Dissolving Landscapes artistic research2025 - 2026

Ezera Skaņas
Poem to Waves water sculpture 2025

ORBĪTA
Strenči Sonification station earth recordings 2025

VARES
Akmentiņi —Pebbles — Veerised water sculpture2025

Cēsis Old Brewery
Exhibition Memory of Light with painter Līva Graudiņa 2025

Cēsis Exhibition Hall
Vidzeme Artists’ Days Climate Challenge exhibition 2025

Riga Art Space
How to (re)Write Light exhibition with Baltic Analog Lab 2024

Homo Novus
Y: SLOW CINEMA Artist Film “AGNESE KRIVADE: They have emptied out my shoulder“ 2024

Latvian National Museum of Art and SAVĀ VAĻĀ
Artist text author for solo exhibition by painter Andris Eglītis “Some Instances of Encounters between Imagination and Matter“, with SAVVAĻA and writer and artist Agnese Krivade2024

KASK School of Arts
Master's Work: Being Turns Towards Turning Away 2024

LCCA
Exhibition text “Red Sea and Purple Sand” School of Art Criticism with art critic Santa Hirša 2024

Latvian Artists’ Union Gallery
Exhibition design and text author of the annual visual arts exhibition “Artists’ Days 2024. Looking Up” 2024

KASK School of Arts
Bachelor's Graduation Exhibition2023

KASK School of Arts
MAP#130 exhibition with artist Teodora Oita 2022

KASK School of Arts
Shortfilm with Émilien Dubuc: Memoires ostreicoles II  2022

PROCESS Festival
Experimental film festival visual identity 2021-2025

Baltic Analog Lab
Short film “Père au Ciel” 2019-2025

Heritage Lens Dissolving Landscapes2025


 Heritage Lens
 European Cooperation Project on cultural heritage and climate change
 Partner organisations: ISSP Riga, Cobertura Photo, Officine Fotografiche Rome and Fotofestiwal Lodz
 Visual reserach: Katrīna Marta Riņķe

The Catchwater Drain

Near the lake, I met a lawyer who had recently bought a chateau next to the Meirāni channel, a recently finished diversion channel which drains the largest lake in Latvia. This project is part of a heavily engineered wetland management network operating within a hydrotechnical system. The solution disrupts the rivers Teicija, Malmuta, and Lisiņa to safely divert water into the Aiviekste river.

The manors are priced equivalent to the furnishing costs of a three-story family home. A few months back, for the price of furniture, the lawyer bought her second manor. It used to be a dream to become a duchess. We talked while driving to the lake: “I worked as a schoolteacher for a brief while. The other teachers teach kids how to lie, and the kids lie to the teachers, and I got tired of it.” Up north near Ērgļi, manors do not belong to the locals anymore; they have been bought up by a single wealthy Russian merchant.

While returning to the largest lake of Latvia, Lubāns, through the different seasons of the year, I noticed how fishermen have adapted to temperatures of minus 10 degrees or lower. Water freezes, liquid becomes solid, and 75-meter-long nets are set under the ice, connected through two ice holes with a flag marking the site. Those who continue the tradition remain. The lake takes everything and asks for everything in return.

Photography in its beginnings, in the 18th century, was made for replication, specifically, the high-quality replication of paintings. During winter, the lake is silent and looks like a painting; the soft white snow stretches all along the 15km-wide waterline horizon. During summer, from Google Earth, it looks like a swamp. What happens when the largest lake of a geographical region is deprived of stretching out each spring? And so, the text leads into land grabs and cheap labor, and leans into exploiting authorship - there’s a question here.

I was swimming in a stream nearby and exhaled, “I can’t swim as fast as the Gauja.” A poet-raftsman responded: “No, never say that. You can swim faster than the stream.” And everything has changed since then.
















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