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Tatiana Trouvé

March 25–June 26, 2010
980 Madison Avenue, New York

Tatiana Trouvé Installation view, photo by Rob McKeever

Tatiana Trouvé

Installation view, photo by Rob McKeever

Tatiana Trouvé Installation view, photo by Rob McKeever

Tatiana Trouvé

Installation view, photo by Rob McKeever

Tatiana Trouvé Installation view, photo by Rob McKeever

Tatiana Trouvé

Installation view, photo by Rob McKeever

Tatiana Trouvé Installation view, photo by Rob McKeever

Tatiana Trouvé

Installation view, photo by Rob McKeever

Tatiana Trouvé Installation view, photo by Rob McKeever

Tatiana Trouvé

Installation view, photo by Rob McKeever

Tatiana Trouvé Installation view, photo by Rob McKeever

Tatiana Trouvé

Installation view, photo by Rob McKeever

Tatiana Trouvé Installation view, photo by Rob McKeever

Tatiana Trouvé

Installation view, photo by Rob McKeever

Tatiana Trouvé Installation view, photo by Rob McKeever

Tatiana Trouvé

Installation view, photo by Rob McKeever

Tatiana Trouvé Installation view, photo by Rob McKeever

Tatiana Trouvé

Installation view, photo by Rob McKeever

Tatiana Trouvé Installation view, photo by Rob McKeever

Tatiana Trouvé

Installation view, photo by Rob McKeever

Tatiana Trouvé Installation view, photo by Rob McKeever

Tatiana Trouvé

Installation view, photo by Rob McKeever

Tatiana Trouvé Installation view, photo by Rob McKeever

Tatiana Trouvé

Installation view, photo by Rob McKeever

Tatiana Trouvé Installation view, photo by Rob McKeever

Tatiana Trouvé

Installation view, photo by Rob McKeever

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Works Exhibited

Tatiana Trouvé, Untitled (Mattress), 2010 Concrete and metal, 32 × 23 ⅝ × 22 ⅜ inches (81 × 60 × 57 cm)

Tatiana Trouvé, Untitled (Mattress), 2010

Concrete and metal, 32 × 23 ⅝ × 22 ⅜ inches (81 × 60 × 57 cm)

Tatiana Trouvé, Untitled (Cushion N°2), 2010 Concrete and metal column, Concrete element: 13 ¾ × 15 ¾ × 13 inches (35 × 40 × 33 cm), Metal Column: 118 × 4 ¾ × 4 ¾ inches (300 × 12 × 12 cm)

Tatiana Trouvé, Untitled (Cushion N°2), 2010

Concrete and metal column, Concrete element: 13 ¾ × 15 ¾ × 13 inches (35 × 40 × 33 cm), Metal Column: 118 × 4 ¾ × 4 ¾ inches (300 × 12 × 12 cm)

Tatiana Trouvé, Untitled (Radiators), 2010 Concrete and metal, in four parts, Two Parts at 6 × 6 × 74 inches (15 × 15 × 188 cm) + two parts at 6 × 6 × 51 ⅛ inches (15 × 15 × 130 cm)

Tatiana Trouvé, Untitled (Radiators), 2010

Concrete and metal, in four parts, Two Parts at 6 × 6 × 74 inches (15 × 15 × 188 cm) + two parts at 6 × 6 × 51 ⅛ inches (15 × 15 × 130 cm)

Tatiana Trouvé, Untitled (Men's shoes), 2009 Black patinated bronze, laces, 6 ⅛ × 4 × 11 ⅞ inches (15.6 × 10 × 30 cm)

Tatiana Trouvé, Untitled (Men's shoes), 2009

Black patinated bronze, laces, 6 ⅛ × 4 × 11 ⅞ inches (15.6 × 10 × 30 cm)

Tatiana Trouvé, Untitled (Plugs N°6), 2009 Metal and rubber, 87 × 72 ⅜ × 60 ⅝ inches (221 × 184 × 154 cm)

Tatiana Trouvé, Untitled (Plugs N°6), 2009

Metal and rubber, 87 × 72 ⅜ × 60 ⅝ inches (221 × 184 × 154 cm)

Tatiana Trouvé, Untitled (from the series 'Intranquility'), 2010 Crayon on paper mounted on canvas, 60 × 14 × 94 ½ inches (153 × 240 cm)

Tatiana Trouvé, Untitled (from the series 'Intranquility'), 2010

Crayon on paper mounted on canvas, 60 × 14 × 94 ½ inches (153 × 240 cm)

Tatiana Trouvé, Untitled (from the series 'Intranquility'), 2010 Crayon on paper mounted on canvas, 60 ¼ × 94 ½ inches (153 × 240 cm)

Tatiana Trouvé, Untitled (from the series 'Intranquility'), 2010

Crayon on paper mounted on canvas, 60 ¼ × 94 ½ inches (153 × 240 cm)

About

The work is situated in an open space between matter and memory. This is where I wander and where the construction of a space linked to the development of psychic phenomena is expressed in twists in dimensions and intensities, in combinations that determine changes of pace and place the viewer on the threshold of a physical and mental experience, mobilizing his shoes as much as his mind.
—Tatiana Trouvé

Gagosian Gallery is pleased to announce an exhibition by Tatiana Trouvé. Acclaimed in France and Europe, this is Trouvé's first major exhibition in the U.S.

In her disquieting, dystopic installations, Trouvé limns the boundaries between mental and physical where time, space and memory converge. Her most recent work unites her interest in sculpture, architecture, and drawing in site-specific situations that combine scenographic wall drawings; sculptures in the form of linear abstractions worked in steel, rubber, and leather, or found objects such as bed frames, shoes, machine components, mattresses, and rocks "frozen" in time by casting or embellishing; and oddly scaled built spaces incorporating sealed windows, vents, and passages articulated by windows and angled mirrors. Trouvé depicts eviscerated interiors that echo once-vivid spaces and realities. The resulting "environmental dramas" are melancholy yet highly charged, oscillating between the real, the imaginary and the phantasmic. Although these environments contain no figures, human presence is inferred by sculptural elements resembling prosthetic equipment of various sorts, while time becomes palpable in the mysterious scorch marks and viscous smears on windows and walls.

In this exhibition, Trouvé has turned the fifth floor galleries into interrelated zones of transformation and interconnection. The "foyer" to the exhibition is pure mimicry, a bare room equipped with useless cast concrete radiators and simulated wall plumbing. From there, sinuous lines drawn in copper and aluminum lead from floor to wall into large graphite drawings in which detailed fragments of modernist interiors and objects are collaged with partial views of urban or natural landscapes to create disjunctive scenes of inexplicable dread; elsewhere the same lines sweep up and across space, materializing into three-dimensional convulsions of metal wire. An adjacent space is transformed into a giant vitrine, through which one can look from either end but not enter. The volume inside the two windows is partially bisected by another visible egress, indicating an elsewhere to which access is again denied.

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Installation view, Tatiana Trouvé: The Great Atlas of Disorientation, Centre Pompidou, Paris

Tatiana Trouvé: Le grand atlas de la désorientation

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’s studio, Montreuil, France, 2021

In Conversation
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, installation view, sculpture with jacket on water, Orford Ness, Suffolk, England

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

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 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.

News

Photo: Roberta Valerio

Artist Spotlight

Tatiana Trouvé

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