Page 196 - ART GIANTS issue of World of Art (WOA) Contemporary Art Magazine

orientation nor framing is fixed; instead, the exhibition reflects
WORLD-CLASS ART VIVIAN SUTER: Curated by Andreas Nilsson, I Am Godzilla embodies Suter’s
the fluid, organic nature of Suter’s practice.

longstanding engagement with place and process. Events
I AM GO
such as hurricanes Stan (2005) and Agatha (2010) were
pivotal in shaping her approach, when floodwaters coated
her canvases in clay and debris. Embracing these natural
imprints, she allowed the elements to become integral to
her compositions, mixing oils, acrylics, and botanical matter
with the landscape itself. Having exhibited internationally at
institutions such as Vienna Secession, Kunstmuseum Basel,
Museo Nacional Centro de Arte Reina Sofía in Madrid, and
Documenta 14 in Athens and Kassel, Suter’s work continues
to evolve as a testament to the symbiotic relationship
between art and nature.

Vivian Suter, No title, Utan årtal/No date Photo: Isabel Rotzler Courtesy
of the artist and Karma International, Zurich; Gladstone Gallery, New York
and Brussels; House of Gaga, Mexico City and Los Angeles; and Proyectos
Ultravioleta, Guatemala City

Vivian Suter, No title, Utan årtal/No date Photo: Isabel Rotzler Courtesy
of the artist and Karma International, Zurich; Gladstone Gallery, New York
and Brussels; House of Gaga, Mexico City and Los Angeles; and Proyectos
Ultravioleta, Guatemala City

Moderna Museet Malmö presents I Am Godzilla, the first
Swedish exhibition of Vivian Suter, featuring over 300 works,
both new and older, many displayed for the first time. Born in
Buenos Aires in 1949, raised in Switzerland, and now based in
Panajachel, Guatemala, Suter’s work is deeply connected to
the landscapes that surround her. Her practice is marked by
a spontaneous, physical process where nature is both subject
and collaborator. Leaves, twigs, and rainwater merge with
semi-abstract motifs in muted and vibrant tones, reinforcing
the interplay between environment and artistic gesture.
With few exceptions, her paintings are untitled and undated,
embracing a sense of perpetual transformation.
In Malmö, Suter’s paintings take over the Turbine Hall in a
free-flowing installation. Works hang from the walls, suspend
from the ceiling, and spread across the floor, defying
conventional hierarchies and spatial constraints. Neither

204 WORLD of ART