Roselyne Titaud –
"Géographies des limites humaines"
February 22 – July 21, 2019
In Room 2, photographic works by Roselyne Titaud (b. 1977) will be on view. Titaud finds her motifs in interiors, including still lifes she encounters there, as well as outdoors in nature, for example in the forests and river landscapes of Germany and France. Roselyne Titaud studied at the École des Beaux-arts in Saint-Étienne and has been living for the past several years in Berlin.Under the title “Géographies des limites humaines” – a reference to a poem Paul Eluard wrote in 1936 – the artist has made a selection from various photographic series (A bruit, Tiefe [Depth], 2012–13; Interieurs, Arrangements, 2001–07; Am Löwentor [At the Lion Gate], 2009; Les vallées, 2015; La Loire, 2017–18) and combined these images with other individual motifs from her oeuvre in a harmonious arrangement rife with associations. Rather than following chronological order like a retrospective, Titaud is concerned here with cross-references between motifs, themes, and formal aspects, exploring their changing contexts of meaning as they point in one direction or the other. Issues concerning media and forms of presentation also play a role.The still life genre is a central focus for Titaud. She seeks out her pictorial subjects in homes in France and Berlin, her photographs revealing private decorative arrangements that tell of personal preferences and tastes. These interior scenes summon moments of remembrance and are thus imbued with a distinctly temporal component. In Titaud’s photographs we discover porcelain and glass in a variety of shapes and colors, as tableware, vases or figures; decorative fabrics with patterns and fringes, made out of lace or woven, as cushions and upholstery; armchairs; display cases; chests of drawers; and small tables on which objects are draped. Flora and fauna appear in a wide variety of motifs: flowers, plants, and also animal replicas. The spectrum ranges from a bouquet of flowers in a vase, to potted plants, artificial or genuine, to floral patterns on wallpaper, carpets, or throws. Animals as porcelain figures, painted in pictures, or in the form of shells or coral, populate many of Roselyne Titaud’s photographs. This cosmos of objects taken from nature seems at once familiar and yet somehow strange and otherworldly. It spirits us away to a bygone era when furnishing fashions and styles were subject to different aesthetic and material parameters than today. And these arrangements and interiors also ultimately reflect social structures, notions of family life and belonging, and economic conditions.