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Tatiana Trouvé

I cento titoli in 36 524 giorni (The hundred titles in 36,524 days)

November 22, 2013–January 4, 2014
Rome

Installation view, photo by Matteo D'Eletto

Installation view, photo by Matteo D'Eletto

Installation view Photo by Matteo D'Eletto

Installation view Photo by Matteo D'Eletto

Installation view Photo by Matteo D'Eletto

Installation view Photo by Matteo D'Eletto

Installation view Photo by Matteo D'Eletto

Installation view Photo by Matteo D'Eletto

Installation view Photo by Matteo D'Eletto

Installation view Photo by Matteo D'Eletto

Installation view Photo by Matteo D'Eletto

Installation view Photo by Matteo D'Eletto

Installation view Photo by Matteo D'Eletto

Installation view Photo by Matteo D'Eletto

Installation view Photo by Matteo D'Eletto

Installation view Photo by Matteo D'Eletto

Installation view Photo by Matteo D'Eletto

Installation view Photo by Matteo D'Eletto

Installation view Photo by Matteo D'Eletto

Installation view Photo by Matteo D'Eletto

Installation view Photo by Matteo D'Eletto

Installation view Photo by Matteo D'Eletto

Works Exhibited

Tatiana Trouvé, I tempi doppi, 2013 Copper, paint, bronze, and light bulb, 42 ⅛ × 71 ⅝ × 27 ⅝ inches (107 × 182 × 70 cm)Photo by Laurent Edeline

Tatiana Trouvé, I tempi doppi, 2013

Copper, paint, bronze, and light bulb, 42 ⅛ × 71 ⅝ × 27 ⅝ inches (107 × 182 × 70 cm)
Photo by Laurent Edeline

About

In my view the rational and irrational, the mind and senses, always mingle. What I like is to let them slip one into the other, and be complementary rather than opposite.
—Tatiana Trouvé

Gagosian Rome is pleased to present Tatiana Trouvé's first exhibition in Rome.

Announced with a sealed and folded stained handwritten note, Trouvé's exhibition makes time its primary material, from the title that evolves over the years and days of a century to sculptural situations alluding to states of constitutive and deconstitutive transformation.

In disquieting, entropic mis-en-scenes, Trouvé limns the boundaries between the mental and 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, Trouve'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.

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Per me il razionale e l'irrazionale, la mente e i sensi sono sempre connessi. Mi piace lasciarli scivolare l'uno nell'altro, e che siano complementari piuttosto che opposti.
—Tatiana Trouvé

Gagosian Gallery è lieta di presentare la prima mostra di Tatiana Trouvé a Roma.

Annunciata con un invito sigillato e scritto di proprio pugno, la mostra di Tatiana Trouvé fa del tempo la sua materia prima: dal titolo che enumera i giorni di un secolo a situazioni scultoree che alludono agli stadi di una trasformazione costruttiva e decostruttiva.

In inquietanti e distopiche mis-en-scenes, Trouvé delinea i confini tra il fisico e il mentale, dove lo spazio materico e la forma convergono con il tempo immateriale e la memoria. Le sue installazioni associano complessi disegni scenografici, sculture lineari e tridimensionali, e spazi che accennano a dimensioni invisibili. Che siano casuali o creati, i “drammi ambientali” di Trouvé, malinconici eppure estremamente intensi, riecheggiano altri spazi e realtà vissute, oscillando tra il reale, l’immaginario e l’illusorio.

Nella mostra di Roma Trouvé destabilizza un preciso progetto tecnico con l’accidentale, alludendo ad un misticismo quasi sciamanico, come suggerisce il titolo dell’opera Il Guardiano (2013), che vigila sulla mostra quale sentinella assente di un segreto nascosto nel muro.

Strutture bidimensionali, sia reali che immaginarie, emergono minacciosamente da elaborati disegni in grafite su fondi scuri sbiancati. In queste vorticose immagini chimeriche, oggetti familiari e i loro ambienti si trasformano in misteriose meta-realtà. Gli opposti abbondano, come ne I tempi doppi, sculture in rame e bronzo patinato, che si stagliano nello spazio, alle cui estremità appaiono due lampadine, una illuminata e l’altra spenta. La mostra si conclude con Refoldings, fusioni in bronzo, cemento e cera, vivacemente colorate attraverso complessi processi di ossidazione, per emulare gli imballaggi dismessi di cui rappresentano i calchi.

Tatiana Trouvé è nata a Cosenza, Italia, nel 1968, e vive e lavora a Parigi. Le sue opere sono state incluse in collezioni pubbliche: Georges Pompidou, Parigi; Musée d'Art Moderne de la Ville de Parigi; Kunsthaus Graz, Austria; e il Kunstverein Hamburg, Germania. Tra le più importanti mostre museali si annoverano: “Double Bind,” Palais de Tokyo, Parigi (2007); “4 between 3 and 2,” Centre Georges Pompidou, Parigi (2008); “A Stay Between Enclosure and Space,” Migros Museum, Zurigo (2009–10); e “Il Grande Ritratto,” Kunsthaus Graz, Austria (2010). Una retrospettiva “I Tempi Doppi” aprirà al Kunstmuseum Bonn, Germania, dal 29 gennaio al 4 maggio 2014.

Si prega di partecipare alla conversazione con Gagosian Gallery su Twitter (@GagosianRome) e su Instagram (@gagosiangallery) tramite l'hashtag #TatianaTrouve.

Tatiana Trouvé in her Paris studio.

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.

Installation view of Urs Fischer’s Untitled (2011) in the exhibition Ouverture, Bourse de Commerce – Pinault Collection, Paris, 2021. Artwork © Urs Fischer, courtesy Galerie Eva Presenhuber, Zurich; Bourse de Commerce – Pinault Collection © Tadao Ando Architect & Associates, Niney et Marca Architectes, Agence Pierre-Antoine Gatier. Photo: Stefan Altenburger

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, April 4th, The New York Times; April 11th, South China Morning Post, China from the series From March to May, 2020, inkjet print and pencil on paper, 16 ⅝  × 23 ¼ inches (42.1 × 59 cm)

Tatiana Trouvé: From March to May

A portfolio of the artist’s drawings made during lockdown. Text by Jesi Khadivi.

Jenny Saville’s Prism (2020) on the cover of Gagosian Quarterly magazine.

Now available
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, Between sky and earth, 2012–.

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

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.