In disquieting, entropic mise-en-scènes, Tatiana Trouvé limns the boundaries between the mental and the physical, where material space and form converge with immaterial time and memory. Her situations combine intricate scenographic drawings, sculptures both linear and three-dimensional, and spaces that hint at invisible dimensions. Whether found or created, Trouvé’s 'environmental dramas' are melancholy yet highly charged, palimpsests containing echoes of other lived spaces and realities, which oscillate between the real, the imaginary, and the phantasmic.Read More
Trouvé was born in 1968 in Cosenza, Italy. Recent solo museum exhibitions include Centre national d’art contemporain Villa Arson, Nice, France (1997); Polders, Palais de Tokyo, Paris (2002); _Aujourd’hui, hier, ou il y a longtemps . . . _, CAPC Musée d’art contemporain, France (2003); Tatiana Trouvé, juste assez coupable pour être heureuse, Musée d’Art Moderne et Contemporain, Geneva (2004); Extraits d’une société confidentielle, FRAC PACA, Marseille, France (2005); Djinns, CNEAI, Chatou, France (2005); Centre national d’art contemporain Villa Arson, Nice, France (2007); Double Bind, Palais de Tokyo, Paris (2007); 4 between 3 and 2, Centre Pompidou, Paris (2008); FRAC des Pays de la Loire, Carquefou, France (2008); A stay between enclosure and space, Migros Museum für Gegenwartskunst, Zurich (2009–2010); Bureau of Implicit Activities: Archives and Projects, Kunstverein Hamburg, Germany (2009); Il Grande Ritratto, Kunsthaus Graz, Austria (2010); Somewhere, 18–12–95, An Unknown, 1981, Schinkel Pavillon, Berlin (2014); I tempi doppi, Kunstmuseum Bonn, Germany (2014, travelled to Museion, Bolzano, Italy; and Kunsthalle Nürnberg, Nuremberg, Germany); Desire Lines, Doris C. Freedman Plaza, Central Park, New York (2015); and Stedelijk Museum voor Actuele Kunst, Ghent, Belgium (2017).
Trouvé lives and works in Paris.
Text courtesy Gagosian.
Organisers Artangel commissioned sound art and installations exploring the history of 'the island of secrets'.
The gallery's first exhibition includes works by Katharina Grosse, Norbert Bisky, Friedrich Kunath, and Alicja Kwade.
The Shaman, in particular, emerges from [Trouvé]'s interest in how disorientation can allow for new modes of thinking and being. When we are lost or turned upside-down, all givens are destabilise
To juxtapose the work of Katharina Grosse and Tatiana Trouvé, artists whose directions are different but not altogether contrary in background, influences, and means, triggers new visual short circuit