(...)What to believe or not to believe in to give direction to one’s own life? Which inner attitude needs to be fostered, which standpoint taken, which conviction pursued? Fundamental questions like these lay the intellectual foundations for the exhibition Believer.
Taking up the lead provided by the title, the single components of the show plausibly converge. Artaud, who tirelessly tweaked at his conception of a theatre of cruelty, which though at the time never quite came together, but exerted enormous influence on following generations. Assange, who swears by the democratizing power of the internet to put an end to political secretiveness and covert operations. Demonized by his opponents, venerated by his allies because he campaigns for a transparent knowledge society. Rain Dance pointing to the confidence indigenous peoples have in dancing rituals to bring about the long-hoped-for rain. The sculpture group Desert Plants, a symbol for the desert as a place of knowledge, but also where mirages like the fata morgana cloud and delude the mind.
In Goscinski’s exhibition, Believer does not mean the followers of religious or ideological communities. Rather, the artist is interested in actions and their consequences which are grounded in individual will and convictions, not fixated into dogmas. Thus finally, the death mask as self-portrait functions as a mirror. Who am I? What do I believe in? Or have trust in? What am makes me up and what can I bring about? Sofia Goscinski stages the dilemma of (artistic) self-reflection against the foil of famous names, symbolic landscapes and ritual-like props. As visitors to her exhibition we are – at the end – thrown back to ourselves. And ponder.
Manisha Yothady 2020