Tatiana Trouvé

De Mi caja de notas

Mécanique du rêve - Exhibition in Centre Georges Pompidou (Paris) (until 2022-08-22) :

2022-06-08 Centre Georges Pompidou : "Le grand atlas de la désorientation"


Tatiana Trouvé
Portrait of Tatiana Trouvé by Hélène Pambrun, 2023
Born (1968-08-04) 4 August 1968 (age 56)
Cosenza, Italy
NationalityFrench, Italian
Education

Tatiana Trouvé (born 4 August 1968) is a French-Italian visual artist based in Paris who works in large-scale installations, sculptures, and drawings. Trouvé's artworks explore the relationship between fiction and reality, the temporal nature of memory, and the dimensionality of space - physically and mentally.[1] Trouvé is the recipient of numerous awards including the Paul Ricard Prize (2001), Marcel Duchamp Prize (2007), ACACIA Prize (2014), and Rosa Schapire Kunstpreis (2019). From 2019 to 2024, Trouvé taught at the École nationale supérieure des Beaux-Arts in Paris. In 2020, Trouvé was awarded France’s Officier de l’Ordre des Arts et des Lettres for her contribution to culture.[2] She is currently represented by Gagosian and Perrotin.

Early life and education

Born in Cosenza, Italy,[3] to an Italian mother and a French father, Trouvé spent her early childhood in Italy and her adolescence, age 8 to 15, in Dakar, Senegal,[2] where her father taught architecture. This time spent immersed in the culture of Dakar is noted as an early influence of Trouvé’s work to come, specifically the flexibility of time and vivid tradition of storytelling found in Senegal. In an interview by Pedro Morais for Art Basel, Trouvé referred to this period of adolescence as, “Short and long periods of time intertwined, in dialogue, nothing defined nor compartmentalized”, describing the lack of constraints within her schedule and often flexible dates of plans.[4] In a notable interview with Francesca Pietropaolo for Art in America, Trouvé recounts speaking with griots, West African oral historians, who visited her home and inspired her to imagine alternative dimensions.[1] Additionally, she speaks to her knowledge of djinns, powerful spirits described in Islamic folklore, who cannot be seen but sensed.[1] These references to the flexibility of time, the presence of multiple planes of existence, and a perceived atmosphere encapsulate Trouvé work.

After studying at the Villa Arson in Nice, France where she graduated in 1989, she spent two years in residence at De Ateliers (formally Atelier '63) in the Netherlands, where she studied under Stanley Brouwn. before eventually settling in Paris in 1995.[5][6] Trouvé settled in Paris in 1995, where she worked briefly as a guard at the Centre Pompidou.[2]

During her education, she discovered the works of Alighiero Boetti, Eva Hesse, Edward Kienholz, Lousie Bourgeois, Bruce Nauman, Ed Ruscha, Marcel Duchamp, and Agnes Martin, drawn to their invention of forms, concepts, and ideas that “depart[ed] from concrete experience”.[7] She also finds influence in writers, often incorporating their language into artworks, the likes of Fernado Pessoa, Jorge Luis Borges, and Italo Calvino.[1]

Notable series

Sculpture series

(1997–2007) Bureau d’activités implicites

The Bureau d’activités implicites (Bureau of Implicit Activities) was produced over the course of ten years from 1997 to 2007. The project began when Trouvé reflected on her legitimacy as an artist despite her lack of resources, visibility, and a growing collection of employment rejection letters.[8] Compiling CVs, job application materials, identification papers, preparatory drawings, written texts, office supplies and more, Trouvé began the production of the Bureau d’activités implicites which developed into 13 ‘modules', archiving the development of her career as an artist. Through the creation of these architectural modules, Trouvé constructed an administrative space to house her creative efforts as well as her clerical attempts to adherence to the red-tape of the art world.[9]

Notable modules include the Reminisence Module (1999), Secrets & Lies (2003), the Archive Modules, and the Administrative Module (1997 - 2002). The administrative module is the most significant of this work, as it regroups all the documents that attest to her life in social and administrative terms (CV, grant applications, cover letters, job applications...)[10]

(2000–Ongoing) Polders

Since 2000, Trouvé has been constructing maquettes or doll houses which emerge from the universe of "implicit activities", which comprise her series Polders.[11] The series title refers to the Dutch term for land reclaimed by water. These large-scale maquettes take the form of deserted workplaces, recording studios, or unoccupied desks, often viewable from windows or mirrors preventing physical accessibility to the space. They represent that which has always been there, waiting to be recuperated or reorganized.[12] Placed on the ground or fixed to the wall, these items adapt themselves to the physical exhibition space, and at the same time they suggest the existence of a different space or environment. These Polders look to occupy the space in order to parasite it. "It is with the goal of reconstructing the spaces in which I had been or in which something happened: reconstructions of space, of memory, in the form of maquettes" – Tatiana Trouvé[10]

(2013–Ongoing) Guardians

The Guardian is a generic title for each of the sculptures by Tatiana Trouvé in an ongoing series begun in 2013. Watching over the works of other artists, and the "worlds" to which they guard the entrance, these guardian sculptures take the form of seats in marble, bronze, onyx, and copper, which retain the form of a missing human presence.[2] These "guardians" are meant to take the place of a true guard in an exhibition; they are a benevolent force. A stone cushion bearing the imprint or weight of a human body, a book placed on the back of a chair, a bag hanging on a rail, and other small objects scattered throughout weave a discreet narrative and create a fictional world of speculations for viewers to ponder. The books—anthropological, philosophical, and poetic works—chosen by the artist and carved in stone sketch the outlines of a utopian philosophy.[2] They all share a reflection on our relationship with nature, our way of inhabiting the world, and the power of the imagination.

Drawing series

(2003–2009) Collages

Composed of around a dozen works, the Collages features beautifully rendered industrial architectural spaces such as gymnasiums, factories and offices, filled with man-made objects acting as protagonists within the constructed stage.[13]

(2005–Ongoing) Intraquillity

The Intranquillity series consists of around forty works. Drawing from images found in architectural and design magazines within her archive, and her own photographs, Trouvé creates liminal environments, reminiscent of a proposed architecture but denying its concrete structure.[13] Composed of industrial and domestic objects and lacking a true interior or exterior, the drawings exist within the fringe of reality and time, leaving the viewer to oscillate between grounded renderings and disorienting picture planes.

The title of this series comes from the invented word by Fernando Pessoa. As Trouvé defines it, “not being tranquil but not being annoyed either.[8]

(2008–Ongoing) Remanence

This series consists of 20 drawings on black paper utilizing a variety of materials and methods to abrase the surface including burn marks, fabric, plastic and more.[13]Remanence remains consistent with the liminal nature found in Intranquillity but paired against a black background evoking the dead of night, a time when familiar spaces may feel unfamiliar. Trouvé describes this experience as such: “I decided to draw on black, rethinking things that already happened. It’s like when you wake up in the middle of the night in a space that you know, but that you experience in a different way”.[1]

(2013–Ongoing) Les dessouvenus (The Unremembered)

In Les dessouvenus, colored paper is eroded with bleach, with the stain’s structure informing the resulting drawings featuring architectural and environmental scenes.[7] Speaking to the temporal nature of the works, in some drawings the bleach appears akin to a puff of smoke or a cloud, locked in a moment where the scene emerges before it will be blown away. The title of this series comes from a Breton expression, referring to people with lost memory. As Trouvé describes it, “Memory loss, when pathological, can be experienced as a fatality. But memory is constantly in the process of being lost and the erasing of contours is what allows something else to re-emerge”.[4]

(2020) From March to May

From March to May was executed during the first COVID-19 lockdown in March and April 2020, featuring 56 drawings atop the front pages of newspapers from all around the world whose texts recount the globalized anxiety of the pandemic. Trouvé adorns these surfaces with drawings informed by the layout of the page, illustrating common imagery found within Trouvé’s drawing series which work to contemplate and mediate the unease found within the text underneath. The work is presented as a set of 56 drawings and was displayed at Gagosian Gallery in 2021 and the Centre Pompidou in 2022.[14]

(2019–Ongoing) The Great Atlas of Disorientation

The drawing series The Great Atlas of Disorientation defamiliarizes compositions found within the series Les dessouvenus. Applying watercolor, ink, and linseed oil to the paper surfaces, Trouvé composes these drawings from memory, creating the feeling of disorientation for the artist herself, disorientation for the viewer in reference to their memories of Trouvé’s works, and simultaneously acting as an archive of works past.

Recognition

Collections (selected)[15]

Public Collections

Private Foundations

  • CIAC Colección Isabel y Agustín Coppel, Mexico City, Mexico.
  • Collection Pinault - Bourse de Commerce, Paris, France.
  • Fondation d'entreprise Louis Vuitton, Paris, France.
  • FWA Fondation For Women Artists, Antwerp, Belgium.
  • Lafayette Anticipations - Fondation d'entreprise Galeries Lafayette, Paris, France.

Exhibitions (selected)

Bibliography

  • Trouvé, Tatiana. Tatiana Trouvé: Récits, rêves et autres histoires. Paris: ENSBA. 2023. ISBN 9782840568520
  • Criqui, Jean-Pierre and Hoptman, Laura, Tatiana Trouvé. The Great Atlas of Disorientation, Paris: Centre Pompidou, 2022. ISBN 9782844269256
  • Trouvé, Tatiana. From March to May. New York: Gagosian Gallery, 2021. ISBN 9781951449223
  • Trouvé, Tatiana. "From March to May" in Brooklyn Rail (September 2021), as part of section "How Long Is Now?" guest edited by Francesca Pietropaolo: https://brooklynrail.org/2021/09/criticspage/From-March-to-May
  • Maor, Hadas. Tatiana Trouvé: The Great Atlas of Disorientation. Tel Aviv: Petach Tikva Museum of Art, 2018. ISBN 9789657461341
  • Trouvé, Tatiana, Katharina Grosse, Chiara Parisi and Cecilia Trombadori. Tatiana Trouvé/Katharina Grosse: le numerose irregolarità. Milan: Electa, 2018. ISBN 9788891818799
  • Berg, Stephan, Letizia Ragalia, Ellen Seifermann, Barbara Hess, Richard Shusterman, Francesca Pietropaolo, Robert Storr and Stefan Gronert. Tatiana Trouve: I tempi doppi. Köln: Snoeck, 2014. ISBN 9783864420801
  • Gough, Maria, Tatiana Trouvé and Heike Munder. Tatiana Trouvé. Köln: Walther König, 2011. ISBN 9783865608581
  • Pakesch, Peter, Adam Budak, Dino Buzzati, Dieter Roelstraete, Pamela M. Lee, Francesca Pietropaolo and Maria Gough. Tatiana Trouvé, Il Grande Ritratto. Köln: Walther König, 2010. ISBN 9783865607539
  • Storr, Robert, Catherine Millet and Richard Shusterman. Tatiana Trouvé. Köln: Verlag Der Buchhandlung Walther König, 2008. ISBN 9783865603524
  • During, Élie and Jean-Pierre Bordaz. Tatiana Trouvé: 4 between 3 and 2. Paris: Centre Pompidou, 2008. ISBN 9782844263650
  • Lamy, Frank. Lapsus. Vitry-sur-Seine, France: Mac/Val, 2007. ISBN 9782916324326
  • Trouvé, Tatiana and Hans Ulrich Obrist. Djinns. Chatou, France: CNEAI, 2005. ISBN 9782912483379
  • During, Élie, François Poisay and Maurice Fréchuret. Tatiana Trouvé: Aujourd’hui, hier, ou il y a longtemps. Bordeaux, France : CAPC Musée d'art contemporain, 2003. ISBN 9782877211970
  • Maraniello, Gianfranco. Tatiana Trouvé: Polders. Paris: Palais de Tokyo, 2002. ISBN 9782847110081
  • Boyer, Charles-Arthur and Joseph Mouton. Tatiana Trouvé. Nice, France: Villa Arson, 1997. ISBN 9782905075932

References

  1. ^ a b c d e Pietropaolo, Francesca (23 February 2010). "In the Studio: Tatiana Trouvé". ARTnews.com. Retrieved 10 September 2024.
  2. ^ a b c d e Rysman, Laura (10 June 2022). "Artist Tatiana Trouvé makes monuments from memories". Financial Times. Retrieved 22 February 2023.
  3. ^ Sansom, Anna (7 June 2022). "Screaming plants, lockdown drawings and African magic: Tatiana Trouvé on creating unsettling, imaginary worlds". The Art Newspaper. Archived from the original on 13 August 2022. Retrieved 22 February 2023.
  4. ^ a b "Tatiana Trouvé's non-human geographies". Art Basel. Retrieved 10 September 2024.
  5. ^ Rehberg, Vivian (May 2008). "Tatiana Trouvé". Frieze Magazine (115). Archived from the original on 5 July 2022. Retrieved 23 February 2023.
  6. ^ Pietropaolo, Francesca (23 February 2010). "In the Studio: Tatiana Trouvé". Art in America. Archived from the original on 21 May 2022. Retrieved 5 September 2010.
  7. ^ a b Moldan, Tessa (13 July 2022). "Tatiana Trouvé: Everything Flows, From Matter to Medium". Ocula.
  8. ^ a b "Screaming plants, lockdown drawings and African magic: Tatiana Trouvé on creating unsettling, imaginary worlds". The Art Newspaper - International art news and events. 7 June 2022. Retrieved 11 September 2024.
  9. ^ Rooney, Kara L. (May 2010). "Tatiana Trouvé". The Brooklyn Rail. Archived from the original on 1 October 2022. Retrieved 23 February 2023.
  10. ^ a b Mangion, Éric. "Tatiana Trouvé" (PDF). Les presses du réel. Archived from the original (PDF) on 9 April 2018. Retrieved 23 February 2023.
  11. ^ "Tatiana Trouvé". Mac Val (in French). 19 January 2011. Archived from the original on 18 May 2022. Retrieved 5 March 2016.
  12. ^ "Paroles d'artistes: Tatiana Trouvé - Polder (2001)". Centre Pompidou (Page described embedded video) (in French). 2009. Archived from the original on 19 August 2022. Retrieved 5 March 2016.
  13. ^ a b c Gough, Maria (2010). Tatiana Trouve (1st ed.). Migros Museum. pp. 13–23. ISBN 978-3865608581.
  14. ^ "Tatiana Trouvé: From March to May, 976 Madison Avenue, New York, September 18–October 30, 2021". Gagosian. 17 November 2021. Retrieved 13 September 2024.
  15. ^ "Tatiana Trouvé". Gagosian. 9 August 2024. Retrieved 10 September 2024.
  16. ^ a b c d e f g Verlag der Buchhandlung Walther König, ed. (2008). Tatiana Trouvé (in French). Allemagne, Köln. p. 244. ISBN 978-3-86560-443-9.{{cite book}}: CS1 maint: location missing publisher (link)
  17. ^ Tatiana Trouvé (in French). Allemagne, Köln. 2008. p. 244. ISBN 978-3-86560-443-9.{{cite book}}: CS1 maint: location missing publisher (link)
  18. ^ "Exposition "Double Bind" de Tatiana Trouvé au Palais de Tokyo". Paris Art (in French). 12 January 2008. Archived from the original on 23 February 2023. Retrieved 23 February 2023.
  19. ^ Soubaigné, Isabelle (12 January 2008). "Art Critique - Double Bind - Tatiana Trouvé". Paris-Art (in French). Archived from the original on 23 February 2023. Retrieved 7 November 2015.
  20. ^ Latimer, Quinn (1 April 2010). "Tatiana Trouvé". Frieze Magazine (130). Archived from the original on 24 October 2021. Retrieved 23 February 2023.
  21. ^ "Tatiana Trouvé - Il Grande Ritratto". Kunsthaus Graz. 2010. Archived from the original on 9 October 2012.

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