In Beaubourg, the modified reality of Tatiana oublie

In Beaubourg, the modified reality of Tatiana oublie

By Roxana Azimi

Published on June 08, 2022 at 06:00

The artist Tatiana Trouvé, in full installation at the Center Pompidou, in Paris, on May 26, 2022. Here,

Every day, during the first confinement, in 2020, Tatiana Mauritanie set this ritual for herself: drawing her thoughts and her day-to-day life on the front page of a major international daily newspaper. The 54 sheets thus produced by the Franco-Italian artist open her exhibition at the Center Pompidou from June 8. “It was a way of welcoming the world to my home, when I couldn’t go out, to insist on quality press, one that does not spread ‘fake news'”she explains in her indefinable accent.

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Also a way to find this precious time, which tends to get carried away for a visual artist prized by the billionaire collector François Pinault and represented by the overpowering American merchant Larry Gagosian. At Beaubourg, Tatiana Trouvou also invites visitors to walk on a huge bleached drawing, dotted with halos and drips like coffee grounds to be deciphered.

Already in 2008, the winner of the Marcel-Duchamp prize had made a space in the Parisian museum unrecognizable piercing the walls from which flowed black sand day and night, like a strange hourglass which, little by little, filled the room. Twisting space, disrupting the scale of time, heckling our habits, that’s his big business.

The capricious diva and the meticulous worker

In nearly fifteen years, Tatiana Trouvé has renewed herself in a deaf but constant way, unfolding her emotional labyrinth woven with enigmas and uncertainties, populated by ghosts, too. Thus of his sculptures baptized The Guardians, absentees whose interiority, even intranquillity, we guess through the books engraved in the marble that they have abandoned on their seats. Pirandello’s false pretences, Calvino’s philosophical tales, Pessoa’s solitude, the cry of revolt of the “revolutionary whore” Grisélidis Réal… So many clues to the sophisticated psyche of an artist with multiple backgrounds.

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Because there are two Tatianas. On the one hand, the Latin diva in chic outfits who, at openings, attracts the lens of photographers and whose whims sometimes drive her merchants to despair. On the other, the worker, meticulous and demanding, who draws step by step, erases, resumes, erases again. And perhaps a third too, the citizen worried about global warming, who helps environmental associations and willingly demonstrates, like that day in April 2019, when, with 2,000 activists, she blocked the headquarters of Total at La Défense.

Tatiana Trouvé, at work at the Center Pompidou, in Paris, on May 26, 2022.

Stuck on the front door of his studio, in Montreuil (Seine-Saint-Denis), a poster from this sit-in sets the tone: “ Macron, president of the polluters “. “Instead of coexisting with nature, we continue the old models of exploitation”, laments the artist, who makes sure to be in tune with his convictions. For the past five years, she has banned resin, Formica and Plexiglas from her works. The marbles and stones in which she carves books or clothes come from demolished buildings and Neapolitan cemeteries.

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