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.
Trouvé was born in 1968 in Cosenza, Italy, and lives and works in Paris. Recent solo museum exhibitions include Villa Arson, Nice, France (1997); Polders, Palais de Tokyo, Paris (2002); Aujourd’hui, hier, ou il y a longtemps . . . , CAPC musée d’art contemporain de Bordeaux, France (2003); Tatiana Trouvé, juste assez coupable pour être heureuse, Musée d’Art Moderne et Contemporain, Geneva (2004); Extraits d’une société confidentielle, Frac Provence-Alpes-Côte d’Azur, Marseille, France (2005); Djinns, Centre national edition art image, Chatou, France (2005); Villa Arson, Nice (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 (2009–10); 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, traveled to Museion, Bolzano, Italy; and Kunsthalle Nürnberg, Nuremberg, Germany); Desire Lines, Doris C. Freedman Plaza, Central Park, New York (2015); L’Éclat de L’Absence, Red Brick Museum, Beijing (2016); Le Numerose Irregolaritá, Villa Medici, Rome (2018); and The Great Atlas of Disorientation, Petach Tikva Museum of Art, Israel (2018).
I cento titoli in 36 524 giorni (The hundred titles in 36,524 days)
November 22, 2013–January 4, 2014
Gagosian Quarterly Winter 2020
The Winter 2020 issue of Gagosian Quarterly is now available, featuring Jenny Saville’s Prism (2020) on its cover.
Tatiana Trouvé: In Time
In upstate New York, Jenny Jaskey discovers Tatiana Trouvé’s Between sky and earth. Begun in 2012, this multifaceted installation exists as a crucial nexus in the artist’s career, both a result of her ongoing practice and a generative source for continuing investigations.
Before the Smoke Has Cleared
Angela Brown provides a glimpse into the charged ecologies of recent drawings and sculptures by Tatiana Trouvé. These works will be included in On the Eve of Never Leaving, Trouvé’s first solo exhibition in Los Angeles, opening in November 2019.
Gagosian Quarterly Fall 2019
The Fall 2019 issue of Gagosian Quarterly is now available, featuring a detail from Sinking (2019) by Nathaniel Mary Quinn on its cover.
Trouvé and Grosse: Villa Medici
Tatiana Trouvé and Katharina Grosse discuss their exhibition Le numerose irregolarità, at the French Academy in Rome, Villa Medici, with curator Chiara Parisi.
Gagosian Quarterly Spring 2018
The Spring 2018 Gagosian Quarterly with a cover by Ed Ruscha is now available for order.
Rites of Passage, Connecting Worlds
Tatiana Trouvé according to Jesi Khadivi
Tatiana Trouvé is the subject of a new essay by Jesi Khadivi, commissioned by the Fondation d’entreprise Pernod Ricard, Paris, for TextWork, its online platform that publishes monographic texts by international authors on artists from the French scene. Khadivi’s essay examines Trouvé’s body of work, including a recent series of drawings she made while in quarantine on the front pages of international newspapers from countries severely affected by the pandemic.
Tatiana Trouvé, March 21st, May 4th, The New York Times, USA, 2020, from the series Front Pages March 15–April 25, 2020, 2020 © Tatiana Trouvé. Photo: Florian Kleinefenn
Online Viewing Room
Frieze Los Angeles 2020
February 10–19, 2020
Gagosian will launch its latest Online Viewing Room on the occasion of Frieze Los Angeles, with available works by Chris Burden, Alex Israel & Bret Easton Ellis, Neil Jenney, Albert Oehlen, Chris Ofili, David Reed, Ed Ruscha, Bill Whiskey Tjapaltjarri, Tatiana Trouvé, and Jonas Wood. Many of the artworks included in this virtual presentation consider the political, geographical, and social landscapes of Los Angeles.
The Frieze Los Angeles 2020 Online Viewing Room will open at 12:00am on Monday, February 10, in Hong Kong, and close at 11:59pm on Wednesday, February 19, in Los Angeles and San Francisco.
For more information about the Online Viewing Room or the work to be featured, please contact firstname.lastname@example.org.
Chris Burden, L.A.P.D. Uniform, 1993 © 2020 Chris Burden/Licensed by the Chris Burden Estate and Artists Rights Society (ARS), New York
2019 Rosa Schapire Kunstpreis
Tatiana Trouvé received the 2019 Rosa Schapire Kunstpreis in Hamburg, Germany, on Friday, December 6, for her contribution to the arts. Administered by the Freunde der Hamburger Kunsthalle, the prize is named after Rosa Schapire (1874–1954), the Polish-born art historian who lived in Hamburg and England and was one of the first supporters of Die Brücke. Trouvé was selected by Alexia Fabre, chief curator at Musée d’Art Contemporain du Val-de-Marne, Vitry-sur-Seine, France, who was chosen to bestow the award for 2019.
Photo: Claire Dorn
Tatiana Trouvé in
Io dico Io – I say I
Through May 23, 2021
Galleria Nazionale d’Arte Moderna e Contemporanea, Rome
This exhibition is loosely based on the writings of Italian art critic and feminist activist Carla Lonzi (1931–1982) and insists on the necessity of taking the floor and speaking for oneself in order to assert one’s subjectivity, by creating a single multitude, a multiplicity of “I” that resonates with consonances and dissonances. The show brings together a constellation of visions by Italian female artists of different generations, who, in diverse historical and social contexts, have expressed their own authentic ways of inhabiting the world. Work by Tatiana Trouvé is included.
Tatiana Trouvé, Les indéfinis, 2017–18 © Tatiana Trouvé
Tatiana Trouvé in
Le vent se lève
Opened March 7, 2020
Musée d’art contemporain du Val-de-Marne, Vitry-sur-Seine, France
This exhibition, whose title translates to The Wind Is Rising, explores the relationships between humanity and the planet through paintings, photographs, films, and installations. Work by Tatiana Trouvé is included.
Tatiana Trouvé, Desire Lines, 2015, installation view, Musée d’art contemporain du Val-de-Marne, Vitry-sur-Seine, France © Tatiana Trouvé, ADAGP Paris 2020. Photo: © MAC VAL
Tatiana Trouvé in
June 20–November 1, 2020
Fondation Villa Datris pour la sculpture contemporaine, L’Isle-sur-la-Sorgue, France
This exhibition, whose title translates to Recycling/Upcycling, explores recycling in contemporary sculpture. At a time when sustainable development has become an absolute priority, contemporary artists are tackling the fundamental question of our relationship to objects with particular acuity. The exhibition focuses on works by artists who deploy waste as an artistic material in its own right; objects left behind or rejected by the flow of consumption thus find utility and a new identity—a true social metaphor.Work by Tatiana Trouvé is included.
Tatiana Trouvé, Refolding, 2013 © Tatiana Trouvé
Tatiana Trouvé in
Glas und Beton: Manifestationen des Unmöglichen
February 29–June 7, 2020
Marta Herford, Germany
This exhibition, whose title translates to Glass and Concrete: Manifestations of the Impossible, explores the path of the titular materials between flowing and setting, testing the limits of what is possible in order to pose new questions about crumbling social concepts. Work by Tatiana Trouvé is included.