View of “Tatiana Trouvé,” 2016. Photo: Roman März.

View of “Tatiana Trouvé,” 2016. Photo: Roman März.

Tatiana Trouvé


View of “Tatiana Trouvé,” 2016. Photo: Roman März.

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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