On February 19, 2026, at 18:00, a performative demonstration of the audiovisual installation “confluxus [+][×] corner portals” by artist Jānis Garančs will take place at RIXC Gallery, inviting the audience to encounter the artwork in an expanded, processual, and experimental form that diverges from its regular exhibition format.

During the performance, the artist will visualize and sonify financial transaction data online, using two stereoscopic 3D projections. The installation will be activated as an immediate real-time process in which data flows are generated and transformed in the presence of the audience, unfolding as a dynamic and transient configuration.

The event is intended for anyone who wishes to experience space as an immersive and dynamic environment, as well as to explore the performativity of data and its materialization in image and sound.

The performance will be followed by a discussion with the artist.

Event information
Time: February 19, 2026, at 6 p.m.
Location: RIXC Gallery, Lenču iela 2
Free entry.

The number of places is limited. Please register via Eventbrite: https://www.eventbrite.com/e/janis-garancs-confluxus-stura-portali-audiovizuala-performance-tickets-1982785640225

The event takes place within the framework of the confluxus [+][×] corner portals exhibition, on view until March 14 at RIXC Gallery, Lencu iela 2, from Wednesday to Saturday, 12:00–18:00.


Jānis Garančs is an artist working with multimedia installations, VR/XR environments and audiovisual performance. His creative and immersive‑media research practice combines the use of emerging technologies to expand expressive possibilities with critical social analysis. It examines how technological, algorithmic and communication systems influence perceptual processes. His works have been exhibited and presented internationally at venues and events including Ars Electronica Festival (Linz), DEAF (Rotterdam), Transmediale (Berlin), ISEA (Helsinki 2004, Montreal 2020, Barcelona 2022, Paris 2023), Centre Pompidou (Paris), SAT – Society for Art and Technology (Montreal), RIXC Art and Science Festival (Riga), Banff New Media Institute, EXPO 2000 World Exhibition (Hanover), and others. He is currently conducting doctoral research in media arts and creative technologies, focusing on the analytic and affective interpretation of financial transaction data.

In the audiovisual installation confluxus [+][×] corner portals, two stereoscopic 3D projections are utilised to transform the gallery’s 90° corner into a simulated zone of transition and confluence. Dynamic structures — abstract geometries, letters, numbers, statistical and financial charts, data landscapes, flames, smoke, and organic forms — emerge within an illusory expanded spatiality on both sides of the wall planes as elemental flows, flares, and ephemeral spatial formations. Within them, not only Cartesian (rectangular coordinate systems) and non-Euclidean geometries, but also timelines and scales collide, slip, or momentarily coincide.

The installation positions the viewer not ‘in front of’ the image, but within the configuration of an illusory, pulsating architecture. Here, the expanded geometry of space functions as both a property and an instrument, referencing the principle of anisotropy in physics — where space and materials exhibit different properties depending on the viewing angle — which is also realised through the perception of the stereoscopic image.

The work indirectly points to the increasing role of code and algorithms in contemporary governance and communication practices — systems where information flows are constantly restructured for the sake of efficiency, yet remain prone to misunderstandings, inherent errors, and inconsistencies.

The title confluxus (from Latin — flowing together, confluence, intersection, crowding), along with the symbols [+] and [×], marks a multi-layered space of operations and transitions. [+] can be read as connection, addition, or entry, while [×] denotes splitting, crossing, or exit. confluxus [+][×] corner portals explore a potential connective space;

Although the work is inspired by the author’s interpretation of the phenomena and paradoxes of contemporary technological society, the installation — through its immersive impact and referencing the ‘immersive power’ defined by philosopher and mathematician Rainer Mühlhoff — encourages the viewer to create an individual mapping of their experience.

Supported by the Riga City Council, State Culture Capital Foundation of Latvia