Review: Yasmin Mueller ‘Copia: Modern Disbelief’ in Art Wednesday

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by Tefkros Iordanis Sophocleous Christou 

We had the pleasure of attending the private view of Berlin-based artist Yasmin Müller last Thursday evening. This is the second solo exhibition by Yasmin Müller at the gallery, whose distinctive art and conceptualism is evident in her minimal, geometric, asymmetric, as well as pictorial aesthetics. The installations are all conceptual products of her understanding of Copia – meaning mass, copiousness, opulence and the richness of knowledge and thoughts, as well as the name given to the ancient Roman goddess of abundance.

This is a particularly interesting show, as your perception of the space and the relativity of the work to each other shifts as you move around the gallery. Like magic eye stereogram images, the two main geometric column sculptures, combined with sharp projections of light seem to twist and alter as you walk from one end of the room to the other. They reference a pattern created by Norman Wilkinson that was used in modern warfare engineering, aimed to bewilder and perplex the viewer in grasping the depth, silhouette and physicality of the artwork – hence we felt a little bewildered and perplexed when having a good gander at the work. Two lightbox images as well as the repetitive geometric canvases painted with colourful parrots that look as though the artworks have been cut in half or chopped up, all extend the concepts of chaos and mirroring as proposed by the artist. Copia can be seen as Yasmin Müller’s take on what our daily life imagery consists of, as if seen through the prism of our modern cultural life – the aim is to reflect on your own interpretations of the proposed visual field, bearing in mind your own cultural and social stimuli. The beauty of the work though lies in the fact that it can also be seen through the purely aesthetic eye – her work is beautiful to look at. Thought-provoking stuff.