Vivian Suter

Published by Hatje Cantz, Berlin, 2019, 352 pages (colour & b/w ill.), 21 × 27 cm, English

Price: €47

More than thirty years ago the Swiss-Argentine artist Vivian Suter (*1949) moved to the rain forest in Panajachel, Guatemala, to live on a former coffee plantation. Since then she has worked on her impressive paintings in her wooden-hut studio, as well as outdoors. Her canvases lie on the sandy ground or hang in trees; dust, mud, leaves, mangos, and insects leave their traces on them. Her painting is influenced by organic processes and coincidence—even natural disasters are her material, when flood waters make their mark on canvases, becoming part of her large, colorful paintings. With texts by Adam Szymczyk, contributions by R. H. Quaytman, Moyra Davey, Hendrik Folkerts. Designed by Studio Manuel Raeder.

You can see Rosalind Nashashibi’s film Vivian’s Garden here.

#2019 #adamszymczyk #moyradavey #r.h.quaytman #studiomanuelraeder #viviansuter
endless enclosure Thea Djordjadze

Published by Kunsthalle Basel, Basel, 2009, 14 pages (colour & b/w ill.), 39 × 25 cm, German / English

Price: €15

Thea Djordjadze mainly works with sculpture although she has also realized performances and been involved in music projects. In her sculptures, she often uses perishable, fragile, everyday materials that are derived from the vocabulary of domesticity and may hint at femininity, such as plaster, ceramic, silicon, sponge, cardboard, textiles and soap. The shelves, railings, walls and boxes that support or encase the sculptural objects, are simple but delicate architectural structures of wood and metal. Their expression stands in stark contrast to the organic shapes and “unfinished” surfaces of modestly scaled sculptures propped against walls, resting on shelves or hanging from railings. These passive-aggressive configurations of conflicting but mutually dependent objects make cryptic and elliptical reference to the sculpture of classical modernism. The artist’s drawings and watercolours are often part of installations, doubling and heightening their expressive impact and also underlining the fragmentary, unfinished state of the work. They are neither preliminary sketches for future three-dimensional works nor are they studies of already existing sculptures or autonomous pieces. It is as if the sculptures were living bodies that have assumed a definitive shape and became motionless only for a moment – and the drawings have taken note of their temporary appearance.

With texts from Oksana Bulgakowa and Adam Szymczyk

#2009 #adamszymczyk #theadjordjadze