
Xavier Hufkens is pleased to present a major exhibition of new work by Tatiana Trouvé, her first solo exhibition in Brussels. Occupying three levels of the gallery, The Auxiliaries unfolds through an ever-expanding practice encompassing sculpture, drawing, and installation. Trouvé’s works inhabit an intermediate zone where multiple realities coexist, each interlinked within a practice that is both generative and regenerative. ‘All the elements that make up worlds connected to each other through affinities, echoes, reminiscences, and how these liaisons map out a shared wandering, without origin or end, in a completely open ecosystem’, Tatiana Trouvé notes.
The exhibition opens with L’Inventario [The Inventory] (2026), a provisional looking shelving structure resembling cardboard cast in aluminium. Combining still-life compositions with empty shelves, the installation alludes to the artist’s storage and the studio as a place of transformation, where objects and their relationships exist in a state of perpetual becoming.
Les Colliers des villes [City Necklaces] are composed of objects collected by the artist during her travels. Cast in bronze, brass, steel or aluminium before being painted, these fragments become condensed itineraries carrying traces of encounters and lived experience, recalling the interconnected journeys of Italo Calvino’s Invisible Cities (1972). Travel and temporality likewise shape the latest iteration of I cento titoli [A Hundred Titles], a work whose title changes every year over one hundred years (1968—2068). Cast in bronze, the ‘dis-adjusted’ suitcase floats between a temporal and a conceptual journey.
In the basement, Sitting Sculptures (2026), from the series _Les Ouvrières invisibles _[The Invisible Workers], foregrounds the auxiliary materials that enable sculptures to exist: mattresses, blankets, pillows and foams used to drag heavy and fragile objects around the studio, transport pallets, lifting straps, silicone taken from casting moulds, fragments, casts, residues, and discarded materials all reappear in new forms. Retaining traces of their histories even as they assume new identities, these elements reveal the movement and the hidden labour embedded within sculptural practice.
Tatiana Trouvé has developed a vast and ambitious body of work in which drawing, sculpture, and installation are intricately interwoven. Her practice moves seamlessly between the imagined and the constructed, forming a poetic visual language that explores time as suspended, memory through its ruptures, and spatial disorientation. Trouvé first garnered critical attention with Bureau d’Activités Implicites (1997–2007), a formative project she described as a “laboratory of time.” Combining fictional documents, personal archives, and architectural modules, it introduced many of the thematic and formal concerns that continue to shape her work: the construction of psychological and physical space, the layering of memory, and the tension between presence and absence.




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