The title of Tatiana Trouvé’s recent show “From Alexandrinenstrasse to the Unnamed Path” referred to the location of Johann König’s beautifully renovated Brutalist church, and it seemed to predict a course from the known into the unfathomed. Aptly so: A comparable process was encoded into every artwork here, building toward one compound estrangement, and the Italian-born, Paris-based artist seemed conscious of putting viewers through their cognitive paces. Like a planned workout, albeit for eye and mind, her arrangement of works for St. Agnes’s spectacular high-ceilinged nave started gently before building in density, then faded out in stuttering sculptural fragments.
It opened with The Guardian, 2013, a sculpture consisting of a semi-symmetrical pair of half-black, half-metallic rods angled against the wall and, dangling from a nail, black bronze casts of a cheap plastic bags
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