Reduced and enigmatic, dystopian and yet beautiful appears Sofia Goscinski's current exhibition "Believer" at unttld contemporary. A short tour: at the entrance one first encounters "Desert Plants" – high and narrow columns made of concrete - then continues on to a figure of an arm stump touching itself with a finger and in doing so forming a circle ("Le main d'Artaud"), and finally a self-portrait of the artist in the form of a death mask made of - again - concrete. On the upper level one finds Julian Assange painted in coarse ink strokes, an almost abstract picture of a rain dancer ("Raindance"), as well as an empty, bronze-coloured coat lying on the floor with bronze hands sticking out of it, and a picture on which "NOT" is clearly written, and - on closer inspection – "paranoia" shimmers through the layers of paint. At first glance, these are fragments and elements that one would perhaps rather locate not necessarily close to each other. In "Believer" they converge into a questioning of offers of reality and faith, to which - especially in today's age of fast truths, and with a desire for certainties - many people devote themselves without being able to muster up the energy for differentiation any more.
In summary, "Believer" really is a very beautiful exhibition, and a pleasantly non-pointing-towards call for (self-)reflection.
1: Sofia Goscinski, “Desert Plants”, 2020, concrete, steel, height 250cm
2: Sofia Goscinski, “Le main d’Artaud”, 2020, clay, spraypaint, wire, ca. 25 x 25 x 20cm
3: Sofia Goscinski, “Selbstporträt”, 2020, coloured concrete, 24 x 24 x 11cm
Header, 4: Sofia Goscinski, “Assange”, 2020, ink on paper, 150 x 110cm
5: Sofia Goscinski, vorne “ Sweet Surrender”, 2019, bronze, textile, dimensions variable, an der Wand “NOT/paranoia”, 2013/2020, acrylic and ink on canvas, 30 x 30cm