I’m rather fond of the idea that things appear from the moment they are deformed, in the play between what is identical and different, between repetition, alteration, and renewal—like the movement my voice makes in its journey in front of the mountain’s belly, which allows me to measure the architecture of the mountain.
In her large-scale drawings, cast and carved sculptures, and site-specific installations, Tatiana Trouvé assesses the relationship between memory and material, pitting the ceaseless flow of time against the remarkable endurance of common objects. By pushing the very definitions of “copy,” “echo,” and “image,” she invents, even inhabits, environments that straddle studio, street, landscape, and dream.
Trouvé was born in Cosenza, Italy, and spent her childhood and early teenage years in Dakar. After graduating from the Villa Arson, Nice, France, in 1989, she moved to the Netherlands to the Ateliers 63 in Haarlem for two years. In 1994, she moved to Paris, eventually establishing her studio in Montreuil, a historically industrial suburb on the eastern periphery of the city. In 1997, while searching for a job, she began the project Bureau d’activités implicites (Bureau of Implicit Activities) (1997–2007), in which she displayed her personal documents in architectural “modules,” interspersing them with invented résumés and other fictionalized papers. This experiment in crafting and comprehending identity through a bureaucratic lens, a foundation for Trouvé’s archival impulse, allowed her to accumulate a vast collection of images and small objects that are referenced in her drawings and sculptures. In the sculptural series Polders (2000–), Trouvé scales up objects and interiors, yet often implements windows or mirrors that prevent the viewer from getting physically into the spaces. Thus, while accumulated documents reveal the fictions of identity formation in Bureau d’activités implicites, in Polders, physical limitations alienate the mind and body from seemingly familiar interiors.
Trouvé’s drawings have always been deeply intertwined with her sculptural work. Often, she projects visual fragments from the studio or from her personal archive of found and original images onto the picture plane, capturing them there in graphite to create richly detailed two-dimensional realms. In the series Intranquillity (2005–), whose title refers to Fernando Pessoa’s 1982 Book of Disquiet (Intranquillité in the French translation), Trouvé experiments with different modes of spatiotemporal shifting. The works comprising the series Remanence (Afterglow) (2008–), drawn in black graphite on black paper, reveal the surprises and the inconsistencies of memory, considering the liminal space between waking and dreaming. A similar relationship exists between the series Les dessouvenus (The unremembered) (2013–) and The Great Atlas of Disorientation (2019–). To make the former, Trouvé plunges large sheets of colored paper into bleach, allowing the boundaries of each stain to provide a loose structure for complex “environmental dramas” that she then draws in pencil. To create the latter, she uses watercolor, ink, or linseed oil to defamiliarize the compositional structures of Les dessouvenus.
Trouvé was awarded the Prix Marcel Duchamp in 2007, which led to 4 between 3 and 2, a 2008 solo exhibition at Centre Pompidou, Paris, featuring drawings, cast-bronze sculptures, and architectural barriers made of metal bars and glass. In 2010, the Kunsthaus Graz, Austria, presented Il grande ritratto (Larger than Life), a monumental installation wherein Trouvé transformed the museum’s lower level into a postapocalyptic landscape echoing the 1960 science-fiction novel of the same title by Italian writer Dino Buzzati. That same year, the survey Tatiana Trouvé: The Longest Echo / L’écho le plus long opened at the Musée d’art moderne et contemporain, Geneva. The structure of many of Trouvé’s exhibitions is echoed in the ongoing series Les indéfinis (The undefined) (2014–), which combines and reactivates works that were initially intended for past series but ended up taking on separate lives of their own. Common objects—tires, folded cardboard, macramé hangings—are cast in bronze or copper and paired with vitrines of gleaming greenish Plexiglas. As their collective title suggests, Les indéfinis resist definition, existing between the categories of Trouvé’s practice.
In 2015, the Public Art Fund commissioned Trouvé to create Desire Lines, an outdoor installation in New York’s Central Park consisting of oversize spools of rope whose respective lengths correspond with those of more than two hundred distinct pathways in the park. This tactile approach to cartography, suggesting that maps emerge from and alter bodily experience, appears in various iterations in Trouvé’s work.
More than orientation, however, Trouvé reveals the infinite potentialities of disorientation, encouraging viewers to wander, even to get lost. She continues to merge interior and exterior worlds, more explicitly taking on ecological questions by considering the ways in which public and private space, built and destroyed environments, converge.
I cento titoli in 36 524 giorni (The hundred titles in 36,524 days)
November 22, 2013–January 4, 2014
Tatiana Trouvé and Jean-Michel Geneste
Tatiana Trouvé speaks with Jean-Michel Geneste, archaeologist and curator, about the paradoxes of her practice: absence and presence, the ancient and the contemporary, the natural and the human-made.
Tatiana Trouvé: The Residents
Tatiana Trouvé discusses her installation The Residents (2021), commissioned by Artangel for the exhibition Afterness on Orford Ness, a former military testing site in Suffolk, England
Behind the Art
Tatiana Trouvé: In the Studio
Join the artist in her studio as she speaks about her new series of drawings, From March to May. Trouvé describes the genesis of the project and the essential role its creation played in keeping her connected with the outside world during the difficult months of pandemic-related lockdown.
Bourse de Commerce
William Middleton traces the development of the new institution, examining the collaboration between the collector François Pinault and the architect Tadao Ando in revitalizing the historic space. Middleton also speaks with artists Tatiana Trouvé and Albert Oehlen about Pinault’s passion as a collector, and with the Bouroullec brothers, who created design features for the interiors and exteriors of the museum.
Tatiana Trouvé: From March to May
A portfolio of the artist’s drawings made during lockdown. Text by Jesi Khadivi.
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.
April 6–12, 2022
In her cast and carved sculptures, site-specific installations, and large-scale drawings, Tatiana Trouvé assesses the relationship between memory and material, pitting the ceaseless flow of time against the remarkable endurance of common objects. She invents, even inhabits, environments that straddle studio, street, landscape, and dream.
Photo: Roberta Valerio
Officier de l’Ordre des Arts et des Lettres
Tatiana Trouvé was named an Officier de l’Ordre des Arts et des Lettres by the French Ministry of Culture and Communication in 2020 for her work as a visual artist. Established in 1957, this order is intended to honor those who have distinguished themselves through their significant contributions to the arts and literature in France and around the world.
Photo: Claire Dorn
ART021 Shanghai 2021
November 13–14, 2021, booth C02
Shanghai Exhibition Center
Gagosian is pleased to participate in ART021 Shanghai 2021. The gallery will feature works by artists including Georg Baselitz, Dan Colen, Edmund de Waal, Roe Ethridge, Urs Fischer, Katharina Grosse, Simon Hantaï, Damien Hirst, Jia Aili, Harmony Korine, Takashi Murakami (as an individual artist and in collaboration with Virgil Abloh), Rudolf Stingel, Spencer Sweeney, and Tatiana Trouvé.
To receive a pdf with detailed information on the works, please contact the gallery at email@example.com.
Georg Baselitz, No, ja, 2020 © Georg Baselitz. Photo: Jochen Littkemann
Le grand atlas de la désorientation
Through August 22, 2022
Centre Pompidou, Paris
Invited to take over an eight-hundred-square-meter gallery at the Centre Pompidou, Tatiana Trouvé employs a variety of materials to re-create its floor. On this reconfigured surface she presents a group of drawings, some previously unseen and some made expressly for the exhibition, whose title translates to The Great Atlas of Disorientation. A selection of sculptures and constructed elements complete this fantastical landscape where reality engages in infinite exchanges with its doubles.
Installation view, Tatiana Trouvé: Le grand atlas de la désorientation, Centre Pompidou, Paris, June 8–August 22, 2022. Artwork © Tatiana Trouvé. Photo: Thomas Lannes
The Voice of Things
Highlights of the Centre Pompidou Collection, Volume II
Through February 5, 2023
West Bund Museum, Shanghai
The title of this exhibition is taken from the iconic collection of prose poems published in 1942 by French poet and resistance fighter Francis Ponge (1899–1988). In it, he describes the beauty of banality and opens up a new way of looking at everyday objects and bringing them to life. Organized as part of a five-year partnership with the Centre Pompidou, Paris, this exhibition brings together emblematic artworks from the Centre Pompidou’s collection, ranging from the early twentieth-century avant-garde to contemporary works that question our globalized world. Work by Man Ray, Pablo Picasso, and Tatiana Trouvé is included.
Tatiana Trouvé, Polder, 2001, installation view, West Bund Museum, Shanghai © Tatiana Trouvé. Photo: Liang Xiaobo
What a Wonderful World
Through March 12, 2023
Museo nazionale delle arti del XXI secolo, Rome
This exhibition brings together major installations by fourteen international artists including key works from the museum’s collection and others commissioned for the occasion. The works on display investigate issues of scientific and technological progress relating to the challenges of the contemporary era. Work by Carsten Höller and Tatiana Trouvé is included.
Tatiana Trouvé, Les indéfinis, 2018 © Tatiana Trouvé
Tatiana Trouvé in
Oeuvres in situ
May 22, 2021–January 17, 2022
Bourse de Commerce, Pinault Collection, Paris
This show, whose title translates to In Situ Works, is part of Ouverture, an inaugural series of exhibitions at Bourse de Commerce. The presentation aims to highlight the relationship that artists can have with an exhibition space, as well as their relationship to a museum and its visitors. The works, which include eight sculptures from Tatiana Trouvé’s series The Guardian, are installed outside of the museographic framework in the venue’s thoroughfares and passageways, under the dome, and at the top of the Medici Column, surprising visitors.
Tatiana Trouvé, The Guardian, 2019, installation view, Bourse de Commerce, Pinault Collection, Paris © Tatiana Trouvé, ADAGP Paris 2021