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Culture

Tatiana Trouvé in Disorientation

di Alain Chivilò

© Alain Chivilò


Checking the definition of disorientation it’s possible to underline how a feeling of not being able to, or a feeling of being confused led the meaning of the word. Starting from this point, it’s important to know what the cause is.
If external probably a solution could be done at the best, putting everything in a new positive orientation, because a change has been made, if internal the approach is different and not easy and immediate to solve, because there are different topics to understand.
In the real life often the first is in the majority of the cases but the solution it doesn’t come easily. By the way, in Art this kind of state of mind finds a resolution making a private research, combining different elements in a physical and material collage.
Before the opening of the solo, Tatiana Trouvé “The Great Atlas of Disorientation” at the Centre Pompidou in Paris, probably this could be one of the multiple keys to approach the exhibition.
According to the description received, the preparation of the Galerie 3, level 1, will be designed to create a sense of disorientation in which every visitors could find a solution, or if they could not, it will remain an enigma.
The works will present, most of them drawings, are not hung from picture rails but suspended from the ceiling, thus structuring the space differently. Four very large formats, still being made and thus presented for the first time, are presented back-to-back, facilitating a certain ambivalence in terms of points of view.
Curated by Jean-Pierre Criqui (curator, Contemporary Collections Department, Musée national d’art moderne), assisted by Annalisa Rimmaudo (curatorial officer at the Contemporary Collections Department, Musée national d’art moderne), the exhibition will define a mental state in the process of creation and a visual experience that seeks to escape from all forms of confinement.
Tatiana Trouvé, in this project, will also create the floor covering with viroc, a composite material on which she draws, through suspended drawings but also drawings on the floor, like a completely drawn landscape.
A direct visit could solve every question and find a possible solution.

Tatiana Trouvé, born in Cosenza (Calabria) 1968, spent her childhood in Dakar, Africa, before moving to France where she studied art at Villa Arson (Nice), followed by two years at Ateliers 63 in Haarlem (Netherlands). Today, she is one of the most international artists of her generation and has exhibited all over the world. Her works feature in major public and private collections in France and abroad.
Winner of the Paul Ricard Prize in 2001, she was awarded the Prix Marcel Duchamp in 2007 and then the Rosa Schapire Award in 2019. Since moving to Paris in the mid-1990s, Tatiana Trouvé has built a body of work that is as broad as it is ambitious, in which drawing and sculpture intertwine in an endless to-and-fro movement. Her three-dimensional works are based on an invitation to (re)inhabit the space, while her graphic works give life to fragmentary arrangements of architectural constructions, landscapes and furniture that evoke dream-like states and their mechanisms.
All of her work is characterized by the abscence of the human figure, although signs of their presence and activity abound. This gives rise to a sense of the aftermath of a disaster, a distinct melancholy unique to this imaginary world drifting between abandonment and the possibility of reconstruction. A form of “memory art” seems to be at work, not based on a technique of memorisation, as was the case in Antiquity or during the Renaissance, but on the fact of forgetting and leaving memory (real or suggested, flashback or illusory déjà-vu) free to be unclarified, like the uncertain theaters created in her drawings in which the set (a cinema effect) and collage (disjunction caused by the heterogeneity of the materials) play an essential role and contribute to producing a general enigma (a series from the 2010s was titled Les Dessouvenus, or “The Unremembered”). The concept of “the interior”, one of the most ambiguous in both construction and psychology, is thus developed as the ultimate site of strangeness.

Tatiana Trouvé
The Great Atlas of Disorientation
8 June – 22 August 2022
Opening hours: the exhibition is open every day from 11am to 9pm, except on Tuesdays.
Centre Pompidou, Paris
Galerie 3, level 1.

by Alain Chivilò