Yasmin Müller, Copia: Modern Disbelief, 2012. Installation view. Courtesy the artist and Maria Stenfors
Text by Ursula Ströbele
Copia – the name of the Roman goddess of abundance– is at the same time a term of the antique rhetoric which means pool, mass, opulence, and a wealth of knowledge and ideas.
In Alberti’s well known treatise of painting (1435), copia sits beside varietas (variety) and electio (selection) as the most important criteria for a successful composition: While copia causes “attentive consideration of the represented objectsâ€, varietas guarantees a figurative and gestural diversity. Copia runs the risk of being “a tumultuous accumulationâ€, which may be averted by the electio, the deliberate action of an appropriate choice for each subject.
“Copia. Modern disbelief†– Yasmin Müller’s second solo exhibition at Maria Stenfors, presents new works in differing media, amongst them being two illuminated light boxes and an architectural installation enveloped in light projections – appearing to be a random arrangement of disparate found objects and shaped canvases.
At first glance the space seems to be streaked by a purist geometric expansive pattern, at second glance a multi-faceted net of images open up, evoking a host of associations and permitting individual interpretations.
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