Installation view
Artwork © Tatiana Trouvé. Photo: Thomas Lannes
Installation view
Artwork © Tatiana Trouvé. Photo: Thomas Lannes
Installation view
Artwork © Tatiana Trouvé. Photo: Thomas Lannes
Installation view
Artwork © Tatiana Trouvé. Photo: Thomas Lannes
Installation view
Artwork © Tatiana Trouvé. Photo: Thomas Lannes
Installation view
Artwork © Tatiana Trouvé. Photo: Thomas Lannes
Installation view
Artwork © Tatiana Trouvé. Photo: Thomas Lannes
Tatiana Trouvé, The Guardian
2022
Patinated bronze, granite, sodalite, marble, and onyx, 32 ⅜ × 25 ¼ × 23 ¼ inches (82 × 64 × 59 cm)
© Tatiana Trouvé. Photo: Florian Kleinefenn
Tatiana Trouvé, The Guardian
2022 (detail)
Patinated bronze, granite, sodalite, marble, and onyx, 32 ⅜ × 25 ¼ × 23 ¼ inches (82 × 64 × 59 cm)
© Tatiana Trouvé. Photo: Florian Kleinefenn
Tatiana Trouvé, Notes on Sculpture
2022
Patinated and painted bronze, 53 ⅛ × 18 ⅜ × 10 ¼ inches (135 × 46.5 × 26 cm)
© Tatiana Trouvé. Photo: Florian Kleinefenn
Tatiana Trouvé, Notes on Sculpture
2022 (detail)
Patinated and painted bronze, 53 ⅛ × 18 ⅜ × 10 ¼ inches (135 × 46.5 × 26 cm)
© Tatiana Trouvé. Photo: Florian Kleinefenn
Tatiana Trouvé
Notes on Sculpture, 2022
Patinated and painted bronze, 26 × 13 ¾ × 9 ⅞ inches (66 × 35 × 25 cm)
© Tatiana Trouvé. Photo: Florian Kleinefenn
Tatiana Trouvé
Notes on Sculpture, 2022 (detail)
Patinated and painted bronze, 26 × 13 ¾ × 9 ⅞ inches (66 × 35 × 25 cm)
© Tatiana Trouvé. Photo: Florian Kleinefenn
Tatiana Trouvé
Notes on Sculpture, 2022
Patinated and painted bronze, marble, and granite, 38 ⅝ × 11 ⅞ × 12 ¼ inches (98 × 30 × 31 cm)
© Tatiana Trouvé. Photo: Florian Kleinefenn
Tatiana Trouvé
Notes on Sculpture, 2022 (detail)
Patinated and painted bronze, marble, and granite, 38 ⅝ × 11 ⅞ × 12 ¼ inches (98 × 30 × 31 cm)
© Tatiana Trouvé. Photo: Florian Kleinefenn
Tatiana Trouvé
Notes on Sculpture, 2022
Patinated and painted bronze, painted aluminum, and painted alabaster, 46 ⅝ × 14 ¼ × 12 ⅜ inches (118.5 × 36 × 31.5 cm)
© Tatiana Trouvé. Photo: Florian Kleinefenn
Tatiana Trouvé
Notes on Sculpture, 2022 (detail)
Patinated and painted bronze, painted aluminum, and painted alabaster, 46 ⅝ × 14 ¼ × 12 ⅜ inches (118.5 × 36 × 31.5 cm)
© Tatiana Trouvé. Photo: Florian Kleinefenn
I try to leave things open to a form of disorientation and the possibility of navigation. I am more sensitive to the physical and mental wavering that the works can produce than I am attentive to a position from which they should be seen or understood in this or that way.
—Tatiana Trouvé
On June 8, 2022, two complementary presentations of works by Tatiana Trouvé will open in Paris: Le grand atlas de la désorientation (The Great Atlas of Disorientation) at the Centre Pompidou and an exhibition in Gagosian’s gallery at 9 rue de Castiglione. Together, the exhibitions focus on Trouvé’s coextensive drawing and sculptural practices, in which fragmentary graphic, architectonic, and environmental elements form spaces imbued with the logic of memories and dreams.
At rue de Castiglione, Gagosian is pleased to present an installation of new sculptures (all from 2022) from Trouvé’s Notes on Sculpture, a series she began in 2016, and The Guardian, a sculpture from a body of works initiated in 2013. These totemic works are arrayed in front of wallpaper that reproduces L’Escamoteur (The Illusionist) (2022)—a drawing that is featured in the Pompidou exhibition—at an expansive scale. At Gagosian, Trouvé takes advantage of the vitrine-like quality of the recently opened space with an installation that may be viewed at all times through its large windows.
In this video, Tatiana Trouvé provides an overview of her latest installation, presented at the Centre Pompidou, Paris. The exhibition, whose title translates to The Great Atlas of Disorientation, includes a selection of drawings and sculptures that create fantastical landscapes where reality engages in infinite exchanges with its doubles.
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 discusses her installation The Residents (2021), commissioned by Artangel for the exhibition Afterness on Orford Ness, a former military testing site in Suffolk, England
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.
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.
A portfolio of the artist’s drawings made during lockdown. Text by Jesi Khadivi.
The Winter 2020 issue of Gagosian Quarterly is now available, featuring Jenny Saville’s Prism (2020) on its cover.
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.
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.
The Fall 2019 issue of Gagosian Quarterly is now available, featuring a detail from Sinking (2019) by Nathaniel Mary Quinn on its cover.
Tatiana Trouvé and Katharina Grosse discuss their exhibition Le numerose irregolarità, at the French Academy in Rome, Villa Medici, with curator Chiara Parisi.
The Spring 2018 Gagosian Quarterly with a cover by Ed Ruscha is now available for order.
