The time of vivian SUTERs’ works – Liberation

From the floor to the ceiling, its canvases, without chassis, fully line the curved room, under the sunny canopy of the Palais de Tokyo. Therefore, Hanging with touch touch, they tighten and sometimes overlap, one overflowing without embarrassment on the other. For example, Dozens of others are suspended from porticos. Meanwhile, Like laundry put to dry. Similarly, these float in the open air, without wall to flatten them or display them in majesty. Consequently, From canvases in a row. to the tail leu leu, half seen only because if the first (and the last) of the queue have a place of choice (they are fully visible), the others barely appear, in the interstices. They will wait to have drawn a better number one another time.

There is even less well loti. Cabinies have not found a place. time vivian suters’ works – neither on the porticos, nor on the walls, nor on the species of trapeze from which some hang. Everything was taken. From then on, they are stacked on the ground, one on the other, in the middle of the exhibition. The heap (about thirty centimeters high) which is based on a small base. made floor mats, lying sculpture as well as storage room.

In real, all canvases are housed in the same brand. They are a group and body in an exuberant continuum. No one has to complain about this abundant grip where they flocate. drink, do, in a group effect, which amounts to putting none in the foreground, and is in itself a miracle of postage. Vivian Suteter is held at Lumièr years