How can an old, dirty, neatly folded mattress that is strapped by a black rubber belt to a freshly painted white concrete beam be so intriguing, beautiful, and disturbing? This is the art of an amazing installation artist, Tatiana Trouve. She is currently showing at the Gagosian Gallery in New York City till July 30, 2010.
In the gallery’s press release, Tatiana Trouve states: “The work is situated in an open space between matter and memory. This is where I wander and where the construction of a space linked to the development of psychic phenomena is expressed in twists in dimensions and intensities, in combinations that determine changes of pace and place the viewer on the threshold of a physical and mental experience, mobilizing his shoes as much as his mind.” An open space between matter and memory is an interesting concept. It’s unusual, different, and stands out from most artist rhetoric.
Roberta Smith, New York Times art critic, recently wrote an review of the Trouve’s Gagosian Gallery show. Ms. Smith states: “This vague open space is by now so clogged with artists as to be meaningless; it’s everyman’s land. Luckily the art on view is more specific, ambitious and intelligent, even if many of its ideas are traceable to others.”
What makes up these open spaces? According to Roberta Smith: “Literary suggestion supersedes form; details prevail over wholes.” I never thought to reverse detail over the whole due to years of academic drilling. The whole has been the underlining factor to achieve the best art overall. I intellectually enjoy the concept that literary suggestion is more important than form.
Tatiana Trouve’s art makes me investigate the details without the worry of a preconceived notion of visual bliss.