Tatiana Trouvé – Subtle Touch

A 1224724I am drawn to the work of Tatiana Trouvé, the works seem strong and made with such precise intent yet delicate and respectful of the spaces they occupy.  Trouvé exhibits a skill that I rarely see with a lot of artworks and that is touch, an ability to present works that are not over worked and stand on their own, not questioning why they were made.  This subtle skill allow Trouvé to present works that fulfil a hunger I guess for me as an artist to see within other artists practices.  Trouvé works intrigue and raise questions of their being and a desire to ask more.  I am not sure I can ask for more from art work.  The review by Andrea Gyorody in Artforum discuss’s some of the work in her first solo show at the Kunstmuseum in Bonn.

Tatiana Trouvé

Andrea Gyorody

View of “Tatiana Trouvé,” 2014.

Artforum March 27, 2014

KUNSTMUSEUM BONN Friedrich-Ebert-Allee 2 October 16–May 4

For her first solo exhibition in Germany (co-organized with the Kunsthalle Nürnberg and the Museion in Bolzano, Italy), Tatiana Trouvé has transformed eight galleries of the Kunstmuseum Bonn into a series of separate but interconnected installations. Each room is presented as a work in itself, comprised of singular sculptures—and in a few cases, drawings—in combination with alterations to the space. One gallery, with an intervention titled Prepared Space, 2014, is blindingly white, thanks to a stark coat of paint that exacerbates the effect of sunlight pouring in from above, an aggression matched by shallow gashes transecting the walls and floors. Bronze wedges are shoved into the cuts at irregular intervals, holding them agape like surgical wounds and making the entire room feel as if it might split open at any moment, swallowing the sculptures—and visitors—within it.

This sense of carefully orchestrated precariousness pervades the exhibition, particularly in the center gallery, which plays host to 350 Points Towards Infinity, 2009, an installation of small magnetized spinning tops, each suspended from the ceiling with taut wire and left to hover over the ground improbably, as if paused while in motion. Illusion is also a common theme of Trouvé’s work, whether manifest in sculptures that only appear ephemeral from a distance but which turn out to be cast concrete or bronze, or in constructed déjà vu moments, as Trouvé has created here by bookending the entrance with galleries that are eerie near mirror images, with only the subtlest variations in arrangement and detail. At first glance, one might be tempted to understand Trouvé’s work in the lineage of Arte Povera, especially when it involves yellowed mattresses, plastic bags, used shoes, piles of black sand, and copper piping. But her evident investment in tricks of the eye—and of the mind—paint her more accurately as a twenty-first- century surrealist, more interested in instigating a double take (and then a lingering, probing gaze) than in elevating humble everyday materials.

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