I TEMPI DOPPI

source:inexhibitcom
In the exhibition “I tempi doppi” of the artist Tatiana Trouvè pieces of metal, stones, chairs, glass, water and earth: Trouvé uses everyday materials to fashion surprising constructions that channel memories, history and poetry. Her installations do not contain direct symbolic allusions, but attract visitors to their concrete, physical presence, infused with spectres and imaginings.

The exhibition in Museion is constructed around the large installation 350 Points towards Infinity (2009).
350 slender pendulums hang from the ceiling to the floor, mysteriously tracing different trajectories. This fine rainfall of metal invades the space yet leaves us unable to detect the invisible forces that pull the pendulums in different directions.
The work modifies the physical layout of the fourth floor, transforming the way it is usually perceived and opening up to the imagination.

Tatiana Trouvé (Cosenza, 1968) has exhibited in institutions like the Kunsthaus Graz, (2010), Migros Museum für Gegenwartskunst, Zürich (2009) and the Centre Pompidou, Paris (2008). She has taken part in the São Paulo Biennale (2010) and the Venice Biennale (2007).The Museion show is her first solo exhibition in an Italian museum.

source:gagosiancom
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. Recent solo museum exhibitions include Centre national d’art contemporain Villa Arson, Nice, France (1997); Polders, Palais de Tokyo, Paris (2002); Aujourd’hui, hier, ou il y a longtemps . . . , CAPC Musée d’art contemporain, France (2003); Tatiana Trouvé, juste assez coupable pour être heureuse, Musée d’Art Moderne et Contemporain, Geneva (2004); Extraits d’une société confidentielle, FRAC PACA, Marseille, France (2005); Djinns, CNEAI, Chatou, France (2005); Centre national d’art contemporain Villa Arson, Nice, France (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); and Stedelijk Museum voor Actuele Kunst, Ghent, Belgium (2017).Trouvé lives and works in Paris.
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source:centrepompidoufr
Le travail de Tatiana Trouvé s’organise selon les principes de l’archivage, de l’assemblage et de la reproduction, dans la nécessité de préserver les traces d’un devenir pour parer l’inéluctabilité de la perte. Les Polders et les Modules font partie du Bureau d’Activités Implicites (B.A.I.) , œuvre en expansion depuis 1997, qui se décline en éléments architecturaux et d’archivage retraçant la mémoire et l’activité de l’artiste. Dispositifs complexes issus d’une opération de mémoire, microsociétés structurées, sans finalité précise, les Polders se greffent à l’architecture d’un lieu, apportant aux environnements qui les accueillent une nouvelle logique spatiale. À l’instar des terres gagnées sur la mer, endiguées, asséchées et mises en valeur, Polder (2001) représente ce qui était toujours là dans l’attente d’être récupéré et réorganisé. Disposée au sol autour de cloisons, l’installation est constituée d’éléments hétéroclites (banquettes et tables, microcaméras de surveillance explorant le lieu, néons, radio, etc.) composant un ensemble sophistiqué de taille réduite rigoureusement construit. Les éléments sont reliés entre eux par des câbles électriques qui, tels des fils retraçant les chemins parcourus par la mémoire, évoquent une réduction de l’espace à son schéma mental. « Je ne cherche pas à objectiver dans des équivalences ce que devrait être la taille du souvenir, mais à offrir une énigme au regard qui questionne en retour un rapport au temps et au monde. » Entre la construction minutieuse et le fonctionnement imaginaire, l’œuvre est un territoire ouvert aux multiples orientations et directions possibles. Tatiana Trouvé met en espace un processus créatif pour le devenir de l’œuvre.
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source:southlondongalleryorg
Tatiana Trouvé’s work spans drawing, painting and sculpture, often brought together in precisely-scaled architectural installations which suggest the possibility of underlying narratives. For the South London Gallery (SLG) she creates a new installation in the main gallery incorporating three interlinking spaces interspersed with drawings and sculptural objects.

Trouvé reconfigures and modifies spaces, never completely obscuring their original form but introducing shifts in scale and detail which transform our understanding and experience of them. Taking a set of drawings in her most recent artist’s book as a point of departure, for the South London Gallery Trouvé divides the single volume of the main exhibition hall into three separate but interlinking chambers, each one offering glimpses into the next, the original architecture being altered but not completely denied.

As visitors make their way through spaces of differing dimensions and ceiling heights, components from the source drawings are gradually revealed. Carefully placed sculptural objects, drawings on canvas, burn marks made directly on walls, as well as the spaces themselves, have all been derived from the original images through various processes of transfer, from one measurement, material or surface to another. Coils of rope are fashioned from copper, bags are made of wax and suspended from copper threads and a small bronze cushion is squashed between a pillar and a wall. These and other elements suggest a complex web by which they are connected, hinting at the possibility of a hidden narrative to explain their presence as well as at the processes of mutation behind their creation.

Trouvé was winner of the prestigious Marcel Duchamp Prize in 2007, has exhibited widely internationally, including at the Venice Biennale, and had a solo show at the Centre Georges Pompidou in 2008, yet this is her first major solo show in the UK.