In the solo show soft_sighs synthesis, Paula Gogola presents a new series of works that, while departing from her usual medium of paint on canvas, rearticulate and metamorphose her motifs with a balance of strength and sensitivity. These intricately layered reliefs project Gogola’s brooding figures onto a three dimensional plane: dense muscularity unfurls into shrouded repose, razor edges of steel curve into soft, yawning angles. Cold rigidity bonds with openness, pulsating strength with discretion, temerity with fugitivity. Tensed between such polarities, the opaque vitality that marks Gogola’s expanding oeuvre is here intensified, where survival hinges on secrecy, consistency on transmutation.

“The imperative of transparency,” writes philosopher Byung-Chul Han, “suspects everything that does not submit to visibility. Therein lies its violence.” In the present, this imperative has become environmental, reproducing a systemic compulsion to exhibit, disclose, self-report. Algorithmic governance requires datasets abstracted from the soft tissue of bodies and the fragile folds of relations — discretized, compressed, knowable. This legibility becomes cruelty as the data feeds back, sticking to the surface of skins flagged for suspicion, abjection, erasure. For Gogola’s figures, seemingly contemplative and transfixed, conspicuous motion merely makes one a moving target. However, this veiled quietude does not signify withdrawal, but the drawing of battle lines elsewhere: beneath the hypervisible level of symbol and identity, and at that very infrastructural, procedural level of domination itself.

Édouard Glissant urges us to “agree not merely to the right to difference” — the highest virtue in a world where the appearance of difference keeps the engines of appropriation running — but “agree also to the right to opacity… subsistence within an irreducible singularity.” Concealment generates new interiorities, spaces of experimentation and transformation that transcend individual identity: “opacities can coexist and converge, weaving fabrics.” Facing one another with heads turned away, an intimate, possibly psychic communication transpires between the figures at the level of gesture, posture, inclination. A weave of opacity that bonds its communicants in an alliance whose means of survival, be it hiddenness, fugitivity, or subversion, is never mistaken for an end. Knowledge of that end, encrypted in prophecy and distributed in partial avowals, is foreclosed to those for whom knowledge is only ever instrumental. Yet this inaccessibility may also contain an invitation; a provocation to slip behind the darkening veil, to refuse the threshold of permissible existence…

Paula Gogola (*1998, Banská Bystrica) works primarily in the medium of painting. In the spirit of queer and feminist thinking, she observes the body as a changing form that is shaped by personal experience, cultural narratives, and speculative means. The main themes of her work include hormonal transformation, contamination, desire, and care, which she conveys through a delicate, atmospheric visual language. She received her bachelor's degree from Klaudia Kosziba's painting studio at the Academy of Fine Arts and Design in Bratislava. She completed her master's degree at the Painting 3 studio at the Academy of Fine Arts and Design in Prague under the guidance of Josef Bolfa and Jakub Hošek. During her studies, she completed several internships, both at the Academy of Arts, Architecture and Design in Prague (in Dominik Lang's sculpture studio and Michal Pěchouček and Dominik Gajarský's intermedia studio) and abroad at Beaux-Arts Paris (in a studio led by Mimosa Echard). Gogola has presented her work at numerous group exhibitions at home and abroad; for example, at Aurora Vessels at the ACUD Gallery in Berlin (2025), at Crash Club Projects in Warsaw (2024), and at the exhibition The rotten smell is you at Kunsthalle Bratislava (2023). She has presented her work independently at the exhibitions Leering Despondency (VUNU, Bratislava, 2024), Begone Estrone (together with Natália Sýkorová, Medium Gallery, Bratislava, 2025), and With feathers and flesh (together with Hanna Antonsson, Holešovická šachta, Prague, 2025). This year, she won first place in the 20th edition of the Slovak competition Maľba 2025.