Magdalena Suranyi
Stuprattor

Magdalena Suranyi was born and raised in Argentina, currently living and working in London. She is an interdisciplinary artist who uses different media: painting, screen printing, performance and installations to develop her work.

In its beginnings, with figurative drawing on a large scale. Interested in investigating her political questions in her work and investigating various forms of public art. In recent years, a particular interest has been included in making installations that sometimes include public participation and collaboration with artists.

Excess is a fundamental element in his work, which is manifested both in his compositions and in the use of an iconography that refers to abuse and death. Human rights, the search and rhetoric of identity and the use of archetypal symbolisms, are present again and again in his works, through which he denounces social trauma and cultural taboos, while working on the basis of patterns of abuse and violence. The result is an image that confronts the viewer, with global references that allude to a universal typology.

Suitably, Magdalena concentrated on two major projects. The first, a body of images that confront the viewer, portraits of victims of abuse, both physical and psychological. In the second, he explores eroticism through popular sexual fetishes, which are intimately related to Freudian theories of childhood trauma.

During 2010, he made 200 drawings of children abused in various ways. These drawings were especially on a children’s bed on which hung a Catholic cross that was blessed by Pope Benedict XVI. This work was done in response to the systematic denial by the Catholic Church regarding child abuse by members of the Church. The installation was open to the participation of the public who reacted to the drawings assigned in bed, which functioned as a platform as well as the accomplices of this public recognition of child abuse.

During her residency in ´ace she worked on the realization of a Stuprattor artist’s book in which the subject is the abuse of minors by members of the Catholic Church. For the edition of the same, she used the emblematic school notebook as a support on which she printed a series of photolithographs that give account of her complaint.