«FACCIA A FACCIA, VENNI, VIDI, VISSI»
« Faccia a Faccia, venni, vidi, vissi », literally translated by « face to face, I came, I saw, I lived », is a solo show of the artist Sarah Trouche elaborated around the diversion of the latin expression. The exhibition is a walk during which Sarah Trouche explores the plasticity of the notion of resiliency.
This project was established after the violent aggression the artist was subject to during a project abroad, one which almost cost her the life. This trauma led her to re-tame her body, which was - until now - her main creative tool. From this very intimate event was born the wish to think about resiliency (...)
Work in progress
Le projet Kosmostation est né de la rencontre entre l’artiste , Anatoly et Anton. Anatoly et Anton sont deux astrophysiciens vivant à l’observatoire astronomique de Tian Shan au Kazakhstan. Isolés à 4000 mètres d’altitude et tournés vers les étoiles, ils cohabitent depuis 40 ans, partageant leur quotidien entre leurs recherches en astrophysique et leurs débats autour d’une bouteille de scotch kazakh. Lors d’une soirée avec l’artiste, les deux chercheurs ont affirmé qu’être loin de tout permet d’y voir plus clair. Ils utilisent un télescope qui leur sert a observer les systèmes binaires, les trous noirs, les supernova et a regarder plus profondément au coeur des galaxies Il se disent gardiens de l espace et leurs recherches permettent de donner des réponses aux questions que se posent les astronomes depuis des siècles Seulement récemment, les débats ont pris une tournure différente car le monde les rattrape : Anatoly est russe et Anton est ukrainien. Sarah Trouche va s’immerger dans leur univers en allant vivre à l’observatoire (...)
Lacan in the Sahara Sarah Trouche
or the performativity of the Other
Sarah: etym, From the Hebrew, Sara, “princess”
Sahra: etym, From the Arabic, “brunette with a tawny complexion”
Sahara: etym. From the Arabic, sahra, “desert”.
Sarah Trouche, a visual artist and performer, has fully integrated her artistry into the economics of the globalized art world by, paradoxically, focusing for the most part on the outskirts of the global village. Her journeys are therefore motivated by the will to meet the “other”, to discover minorities and make their voices heard in the larger mediatized world from which they are slowly being evicted by the global culture. In her last series, Actions in Sahara, she joined a nomad community in the desert where she devised three performances whose central thrust is to highlight those lifestyles. Staying true (...)
Aral Revival Kazakhstan
«Aral Revival», Kazakhstan
Le projet Aral Revival est un projet artistique réalisé en diptyque et engagé pour la reconnaissance et la sauvegarde de la mer d’Aral au Kazaksthan.
En 1918 l’assèchement de la mer d’Aral est planifiée par les autorités bolchéviques afin d’engager un programme intensif de culture du coton au Kazakhstan et en Ouzbékistan.Les fleuves Amou Daria et Syr-Daria qui alimentent la mer sont détournés et provoquent en moins d’un siècle un assèchement de près de 80% de la mer provoquant la disparition des 28 espèces endémique dela mer d’Aral. Le Kazakhstan souhaite aujourd’hui mettre en place un projet écologique visant à remplir la mer desséchée. Le premier volet du projet Aral Revival a été réalisé en 2013 à Aralsk, ville anciennement cotière et aujourd’hui isolée au milieu des steppes Kazakh.La ville a vu son économie et sa démographie s‘effondrer à mesure que disparaissait la mer (...)
Fukushima superstiitons and consequences
In Japan, Sarah Trouche faced the silences of a post Fukushima society. She discovers "Aokighanara" at the bottom of the Mount Fuji, where individuals regularly come and hang themselves. With the implacable conscience they cannot follow the way of the living beings, they make the decision to leave it. For each of them is established a sotoba which is a wooden bar in which is engraved the new name of the defunt. The sotoba mark the passage of the missing individuals. With the collaboration of a temple, the artist has made her own sotoba, painted in yellow. Facing Aokighanara, along the lake Shoji, she has planted a hedge of sotoba which collapsed because of the winds. With the absurd will to struggle against elements, she strove to raise sotoba, in spite of everyone. This is an act to greet fainted memories and to underline the violence of suicides. The examination of beliefs and of (...)
China dream China
Human vs China dream
In China, a country where she has the habit to work, the artist faced some changes in the attitudes. During debates generated by the Olympic Games of Beijing, mistrust towards him/her appeared manifestly. The Western reactions regarding the Tibetan situation, the non-respect of human rights, the censure and all forms of judged proscriptions which are against values transported by event, caused a feeling of faintness. Sarah Trouche felt the need to exacerbate the right to free expression, to debate, to exchange and to debate. A right minimizes by political pressures. She therefore speeded three actions up. On the wall of China (Action for Great Wall – On 2011), she wandered dense cloud, the body covered with red painting, armed with lighted warning lights. The body in sprightly movement warns the drift of a society where words are compelled. In front of the opera, she opened and closed two paper lanterns of red paper. The slow motions of the body and of the paper lanterns remind an irregular and suffocating breathing (...)
In 2012, she is invited to make an action in Fort-de-France (Martinique). She lived into the hotel The Empress. Quickly, the artist is interested in history and in the character of Josephine de Beauharnais (more known under the title of the empress Josephine, first wife of Napoleon Ier). Born in 1871 in Martinique, it is considered to be a symbol of pride for békés (the descendants of the European colonists). However the character is pulled between two readings of the history, if she is admired by a part of the Antillean, she is also subject to controversy. She would have supposedly played a leading role in the re-establishment of slavery in the French colonies. One can note that she had grown in a context where the dominated-predominant report was well established into the Antillean society. She was born in Martinique after the colonization, besides; her family had hundreds of slaves in her fields of sugar (...)
Albanian view Macedonia
Albanian View, Macédoine
In the Republic of Macedonia, she accomplishes Action for Tetovo (2012). The city whose population is predominantly Albanian and Muslim suffers from discrimination and from generalized contempt. The soldiers hired in the war of Kosovo are considered to be mercenaries, murderers, whom the Macedonian government contains in a city whose nobody worry. Their existence is eclipsed, blocked. The artist wanted to highlight this silence by collaborating with an Albanian woman. Dense cloud at the edge of precipice, it faces up the city. On her back a woman, not veiled, draws a personal cartography of Tetovo, a symbolic plan marked by war and by violence. Together they took a risk (notably that to be stoned to death) for report an unbearable situation. A bit later, the artist is invited to come to work in Israel. She fast leant over the situation of the enclosed territories and over the dissonant symbolism of the olive tree. For the Palestinians, the olive tree is a symbol of life (...)
For her first trip in South Korea, Sarah Trouche asks the unavoidable question of the rapprochement between the North and the South. She goes along DMZ, a demilitarized zone extending for four kilometers which separate both territories. That is a no man’s land plenty with grids, with barbed wires and walls, where people come and collect themselves. They put ribbons corresponding symbolically to wishes or thoughts sent to their fellows living on the other side of the border. By exploring the borders of this protected extremist zone, the artist discovers the maritime border. The west Korea is subject to big tides which generate large area of muds. At low tide, both countries are practically linked by the mud, without any physical border separating them. These muddy zones are closely monitored. In the mud one can find imposing metallic anchors which are arranged to prevent the boats from docking. The artist discreetly goes into the mud to be able to go as closer as possible to North Korea. She buried colored ribbons so they can be (...)
Looking for territories, Israël
Looking for territories
Invited to come to work in Israel, Sarah Trouche fast leant over the situation of the enclosed territories and over the dissonant symbolism of the olive tree. For the Palestinians, the olive tree is a symbol of life which is progressively put in trouble by Israeli colonization. This latter draws away destruction of fields of olive trees which were transmitted from generation to generation. A part of cultural and family inheritance is ruined. At the same time, the olive tree is a symbol of peace for the Israeli people. The tree contains a contradiction that the artist wanted to explore. Her researches gave rise to action for Cisjordania. Combed with a can of metallic oil, she started a blindly walk into an unknown territory. An Israeli woman wanted to go with her in her journey, an unexpected support which reinforced the range of its plan. During more than one hour, both women walked in the sand and pebbles, with the single objective go forward in spite of physical pain and blindness. Go forward as far as possible to figuratively slaughter (...)
Fondation Brownstone Paris
While Arab revolutions are in full swing in 2011, Sarah Trouche is invited to introduce an action in Casablanca. African north explosive context encourages her to question changes generated by such popular uprisings. Those are political, social, economic and religious shifts. She questions more particularly the place of Islam in the Arab societies, as well as its role within the institutions. If the revolution has very little affected the Moroccan society, some shifts and improvements have been decided by the king leading much closer to democratization. Other countries as Tunisia or Egypt managed to make their dictators fall and have taken the choice of a return to religious orders. The catch of power by the Muslims brothers in Egypt and the rise of Ennahda in Tunisia are indeed noticed. The artist then asks the question of the place and the role of the religious actors within newly liberated societies. She accomplishes a first action in Casablanca, where she appears dressed in black, and the face covering with a long blue cloth (...)
Mykonos, New york
At the very beginning of the financial crisis and then the economic crisis which harshly hit Europe, Sarah Trouche is in the United States. She is getting worried about the fate of Greece, cradle of democracy, whose status is under question. Other member countries wonder whether Greece has to leave the Community zone or not. If Greece is putting aside, then who’s next? Those are the foundations of the community which are shaken. Then, the artist decides to represent a European body, painted in blue, wrapped in a blue flag. She questions the concept of the United States, whether it is in North America or in Europe (Victor Hugo spoke about the United States of Europe), and gets her inspiration from the face of the Statue of Liberty. Into the flag were cut up seventeen blue stars. Seventeen stars representing seventeen countries being at the origin of the Schengen area. Sarah Trouche decides to insert them in white frames and to hang them on the wall. Frames are marked by blue painting, this latter becomes her (...)
Facing China Taïwan
Facing China Taïwan
means “ammunition”. With the writing of the first Chinese character “Ammunition” on the wall, Sarah Trouche connects directly with the history of the Jinmen (or Kinmen) islands group. Jinmen is a county with a complex past: it belonged to China for centuries, established an autonomous government in 1912, was then occupied by Japan during WWII, and finally became part of the Republic of China (ROC) /Taiwan in 1945. The geographical proximity to Mainland China makes it a vital military spot in the conflicts between PRC (People’s Republic of China) and the Republic of China (ROC/Taiwan). With a continuous history of bombardment and artillery fire,the meme (...)
Nice to be dead
I want to frame you within me
Seriously all the world 's futures?
Seriously all the world 's futures ?
"Saturday 9th May 2015 saw the opening of the 56th International Venice Biennale of contemporary art. Titled «?All the World’s futures?», the exhibition aims " to investigate how the tensions of the outside world act on the sensitivities and the vital and expressive energies of artists, on their desires and their inner song” (Paolo Baratta) . We were therefore looking forward to a Biennale at the very heart of current affairs.
Artist Sarah Trouche was invited for the occasion for which she decided to go on a “ranting” performance called “Seriously all the world’s futures?”. After dressing up with all the clothes she had brought along in her luggage, Sarah Trouche hurled herself to sea towards San Michele, the cemetery-island of Venice (...)