Prøve GULL - Gratis

Leave It on the Mountain

Issue 251 - May 2025

|

Frieze

Afterlife: For Vivian Suter, exposure to the elements is part of her practice nterview by Lauren O’Neill-Butler

- LAUREN O'NEILL-BUTLER

Leave It on the Mountain

LAUREN O'NEILL-BUTLER Is evanescence something you think about while you're painting?

VIVIAN SUTER Yes, for example, when I'm painting here at my house in Panajachel, in the highlands of Guatemala, I'm always outside and under a tree, so the leaves will naturally fall on top of the works. Some stay stuck on but, in time, they might fall off. I also paint at my studio on the mountain - there's a trail near my house with steps leading up to it. I'm always thinking about all the things that are happening in the world while I'm working - the fires, the inundations, everything - so, yes, impermanence is on my mind. Of course, I'm happy if a museum collects my art and conducts research on how to keep it fresh with their restoration team - that is always strange but nice - but I'm not thinking about durableness when I'm working.

LO-B So, the afterlife of your work is something you give thought to?

VS Yes, because the work always continues living, right? I let it out into the world, and it continues its destiny. I sometimes include soil in the paintings because I'm trying to show how the work happened in this place, with its specific climate and history. For me, this just feels like an obvious way to make art; it's not something I'm trying to enforce, however. It's my way of doing things that has evolved over time through working.

LO-B Have you noticed the effects of climate change where you live over the past 40 years or so? Have the trees or vegetation changed? vs Yes, for sure. It is hotter and drier than before. But there are also more trees where I live, so it's cooler than in the village and we have fewer flowers, too. I can't grow vegetables, though: there's just too much shade.

LO-B There were two strong hurricanes, in 2005 and 2010, that flooded your house and drenched your work in water and mud. Can you tell us what happened after the second one?

FLERE HISTORIER FRA Frieze

Frieze

Frieze

The Writing Fellow

Reflections on a journey through the galleries and behind the scenes at Madrid's Prado Museum

time to read

7 mins

Issue 255 - November/December 2025

Frieze

Frieze

'To respect the material is to work in a state of consent, you have to be able to learn to communicate with it.'

Following the opening of her exhibition at the de Young in San Francisco, writer and sculptor Rose B. Simpson talks to Natalie Diaz about Indigenous education and collaborating with materials

time to read

8 mins

Issue 255 - November/December 2025

Frieze

Frieze

Bring Down the House

What happens when unorthodox art forms enter traditional institutions?

time to read

3 mins

Issue 255 - November/December 2025

Frieze

Frieze

ACROSS THE CAUSEWAY

Novelist Tash Aw reflects on the future of Singapore through the works of artists Heman Chong and Ming Wong

time to read

9 mins

Issue 255 - November/December 2025

Frieze

Frieze

Warped Speed

The multidisciplinary practice of Ayoung Kim projects possible worlds and queers conceptions of time

time to read

5 mins

Issue 255 - November/December 2025

Frieze

Frieze

THE 25 BEST WORKS OF THE 21ST CENTURY

This year, frieze asked 200 artists, curators, critics and museum directors to name the most outstanding works of art from the past quarter century. From their nominations, we compiled a list of 25 works that have shaped contemporary art since the year 2000

time to read

14 mins

Issue 255 - November/December 2025

Frieze

After Coco

A look at Sylvie Fleury's devotion to luxury ahead of her new commission for Performa and an exhibition at Sprüth Magers, New York

time to read

2 mins

Issue 255 - November/December 2025

Frieze

Frieze

Dramatis Personae

Performance: Aria Dean on the challenges of crafting characters in her 2025 Performa commission

time to read

4 mins

Issue 255 - November/December 2025

Frieze

Frieze

Consider the Algorithm

New York's newest performance space foregrounds togetherness

time to read

3 mins

Issue 255 - November/December 2025

Frieze

Frieze

Imagining the Otherwise

Saidiya Hartman on the minor musics and diasporic traditions behind her latest 'performed discourse'

time to read

3 mins

Issue 255 - November/December 2025

Listen

Translate

Share

-
+

Change font size