October 3, “Hanzas Perons” (16a Hanzas street)

October 4, “Hanzas Perons” (16a Hanzas street)

Workshops

EXPOSITIONS

Margrieta Griestiņa has always been drawn to vinyl record artwork. In her latest painting series, Album Cover, she imagines and re-creates record sleeves that never existed. The paintings hint at different music genres – for example, Crazy Frog reflects Eurodance, Packman hints at hip-hop, and Sprīdītis is inspired by folklore. You'll also find eclectic greatest hits compilations, built-in Casio synthesizer sounds, and even a sound forest.

On October 3 and 4, everyone is welcome to visit the exhibition and groove to the rhythm of Skaņu mežs!

Richie Culver - I TRUST PAIN (Film)

During the two days of the Skaņu Mežs festival for experimental music (October 3 and 4) - musician and artist Ricie Culver’s work “I TRUST PAIN” will be exhibited at “Hanzas Perons” (16a Hanzas street).

I TRUST PAIN presents a formally hybrid meditation on fatherhood through the interweaving of six music videos with intimate, deteriorated footage of the artist’s childhood hometown and family home. The film navigates fragmented memory, emotional inheritance, and the psychic weight of paternal absence, offering a layered exploration of masculinity shaped by class, geography, and silence.

The music videos—by Richie Culver, Blackhaine, Allen-Golder Carpenter, Rebecca Salvadori, Max Kreis, and SKINTAPE—form a dispersed but thematically cohesive network of voices.

The childhood hometown, depicted in stark, desaturated visuals, becomes a broader metaphor for cultural and emotional stagnation. The family home—decades later and in decay—operates as a symbolic archive of affect, where formative experiences and care are both inscribed and withheld. These spaces are not neutral settings but active sites of emotional and ideological transmission.

Culver contrasts these raw, affective spaces with the controlled intensity of the music videos, whose sonic aggression and visual stylization speak to masculinity in crisis—both hyper-visible and emotionally opaque. The voiceover, fragmented and elliptical, resists coherent autobiography, instead offering a poetics of rupture and unresolved memory.

The title, I TRUST PAIN, encapsulates the film’s central proposition: that pain becomes the most legible and enduring inheritance in the wake of paternal absence. In refusing resolution, the film performs a critical excavation of fatherhood—not as stable identity, but as a series of failures, and hauntings across time and memory.

September 27, “SunsStudio” (9A Magoņu street)

Free entry opening event