The “unusual lifetime of issues” by Tatiana Troouvé at Palazzo Grassi
Tatiana Troouvé weave constellations, maps, desires and extra in seat statuaryinstallations and Drawings For her main solo exposition “The unusual lifetime of issues” at Palazzo Grassi in Venice. After April 6, 2025 and January 6, 2026, the Pinault assortment homes the present, clear by Caroline Bourgeois, senior curator of the Pinault assortment, and James Lingwood, an impartial curator and former co-director of Artagel. Designboom visits the exhibition The day earlier than they open to the general public, interview James lingwood on cleansing the present.
“I believe these are the themes that come from her work. She could be very within the thought of journey, and what she conjugates by her sculptures and drawings are a form of imaginative worlds. However she additionally relates carefully to the world we reside in; could Additional. The co-curler says Designboom.
The Guardian, 2022 | All pictures with the kindness Tatiana Trouvé and Gagosian © Tatiana Trouvé de Siae 2024, except in any other case mentioned; Picture by Florian Kleinefenn
Navigation themes and constellations amongst sculptures
Navigation, constellations and desires are recurrent themes within the works of the French-Italian visible artist. They compose the 30 rooms that make up Palazzo Grassi exposition space-bar. Along with the doorway, the marble ground turns into an asphalt soil, complemented with gap covers and steel plates forged in bronze, silver and gold. Seems like strolling across the metropolis. When seen from above, Hors-Sol (2025) evokes the view of the constellations, one which the spectators take a look at from peak. Then, on the primary ground, the spectators stroll by the navigation gate (2024), which is a sequence of roots and bronze poured branches that type two gates and big birds.
James Lingwood, who drives the match earlier than opening, says the artist creates the track as a re -imagination of the small diagrams utilized by the sailors to browse their paths across the Marshall islands. This connection method, along with the steel covers that depict the constellations, continues in all the opposite sculptures of the artist. Take L’Upretamento (2025). It’s a maze full of home objects: glass panels with white paste marking, twisted steel beds and their springs, bolstered cardboard bins that maintain the panels collectively; The rods that stick, have bent, however nonetheless sharp. On the finish of the room, there’s a small glass door that takes a take a look at the opposite room, like one of many secret doorways discovered within the homes.
The Guardian, 2024 | Picture by Thomas Lannes
Tatiana discovered experiences as sculptures at Palazzo Grassi
Tatiana Trouvé interprets her private experiences into sculptures. Through the interview of the spherical desk, Designboom asks the artist how he processes his ideas in intervals of disorientation and doubt, which he acknowledges that he experiences and faces. She says it’s simpler to unpack what she feels in works of bodily artwork, fairly than in phrases or describing them. It’s the identical along with her experiences. In June 2023, the French police shot Nahel Merzouk, 17 years previous and North African, in Montreuil, the commune through which Tatiana Trouvé works, within the east of Paris.
Throughout this era, the artist gathered supplies from the times and nights of the problems that adopted: burnt trash bins, melted plastics, store outlets. Two years later, she brings these enlarged objects to Palazzo Grassi in Venice, as a sitting sculpture (2024) and a big wall. The primary suspends these objects utilized in problems on a bench, a type of reminisce concerning the incident. The latter interprets into an summary and big panel, coloured particularly in white and integrated with scary particulars. For the artist, he elaborates and data indignant individuals felt and expressed, the one he noticed shut and lived.
The Guardian, 2020 | Picture by Florian Kleinefenn
In lots of rooms, viewers discover chairs sculptures, a sequence referred to as The Guardians, with solid home objects in bronze and copper, seated, wrapped across the seats: garments, footwear, blankets, pillows, baggage, reminiscences. The chairs itself alludes to the second when the artist used to work as a guard in southern Italy, the place he’ll keep for hours, ready, monitoring. She feels invisible, nevertheless, what’s seen to her is the internal lifetime of the guards, the way in which their solitude might be equal to them. The sequence is attempting to make an announcement about this invisibility and visibility.
Above some chairs piled up enlarged books that cowl a variety of matters: pure sciences, speculative fiction, anthropology, anarchism, natives. Literature is a take a look at the choice programs and the wealth of information that the artist attracts, reads, research and takes over, lots of them being written by girls. Place on high of those objects are pillows, typically even books, fabricated from marble, onyx and sodalitus. They counsel the each day articles with which the artist is surrounded, giving the general public slices in his private life and the experiences he lived by with out being specific.
The Guardian, 2020 | Picture by Florian Kleinefenn
On the second ground, the sculptures take a step again to take room for a choice of extensive -scale drawings from the Les Dessouvenus sequence, in addition to 70 paper works within the artist’s studio, exhibited at Palazzo Grassi for the primary time. The internal self and the personal world of Tatiana Trouvé slowly move. Heavy illustrations of bedrooms, gardens and acquainted locations, areas and desires for the artist spring on her canvas.
Their backgrounds are in lush, blue and pure lush colours, virtually over sufficient to cover the objects and scenography introduced. In a approach, it’s the artist’s try to share his private world with distance, invited, however has not but been left. She recreates the artist’s studio, her workshop and all of the objects that fill it, reproduced in bronze, silver and gold.
Someplace within the Photo voltaic System, 2017 | Romanian März
Inside L’Intletario (2003-2024), there’s an empty house within the center for guests to stroll, and wood plates dangle on the three elements of the room with out home windows. Totally different articles in a number of portions are available in sight: locks, shoe repairs, ropes, dried flowers hanging the wrong way up, mini purses and their replicas, chairs, tablets from the previous days, pine cones, miniature coral reefs, tree branches.
The tranquility within the room is about. For a second, the spectators from Palazzo Grassi stand with the objects that Tatiana Trouvé makes use of in her observe, those she collects and finds fascinating. They see the objects she hangs round her sculptures and consists of in her drawings. They appear round and observe the items that preserve their artwork collectively, those who translate the way in which they really feel and suppose: desires, constellations, disorientation and doubt.
Notes on sculpture, April 27, “Maresa”, 2022 | Picture by Robert McKeever