News

Current and Forthcoming Exhibitions

Landfall and Departure: Epilogue
11 January – 10 March 2018
Nanaimo Art Gallery, Nanaimo

The End of Love
30 August – 26 November 2017
Whitechapel Gallery, London

Die Kraft des Alters / Aging Pride
16 November 2017 – 11 March 2018
Belvedere, Vienna

Weerzien / ReView
16 September 2017 – 18 February 2018
Museum de Pont, Tilburg




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Introducing

Fiona Tan is an artist working primarily with film and video. She is best known for her skillfully crafted and intensely moving installations, in which explorations of identity, memory and history are key.

Fiona Tan initially became known for a body of work that relied on the use of archival films, questioning the observer and the observed and challenging the assumptions of the colonial past. Portraiture has been explored in various works combining an analysis of its art-historical and sociological context with how time influences our perception of those portrayed. Recent works concentrate on how memory is connected to images in our mind and on how inaccurate and yet creative memory can be. Throughout her work Tan shows a continuing interest in the motivations of the traveler or explorer. The question how we represent ourselves and what mechanisms determine how we interpret the representation of others, are repeatedly being investigated, revealing what is behind and also beyond the confines of the image.

Both poetic and subversive, Tan’s work is characterized by great attention to detail, accomplished editing of sound, word and image and the careful use of the sculptural space and architecture in which a piece is presented. These elements combine to produce a sensory experience equal to its intellectual content. The elements of man’s existence – our sensual impressions, the interplay of memory, knowledge and image, and our awareness of time and space – seem to collide and merge into one intensified experience of being. Tan is, as one writer put it, an artist of ‘images that refresh the gaze.’

Early works such as Facing Forward (1998) have been analyzed from a post colonial perspective, while her explorations of the portrait genre address notions of the self and the complex status of the portrait as a medium of representation. Countenance (2002) and The Changeling (2006) have been discussed within the discourse on the archive and archival principles. Notions of painting seem to surface in her use of colors, the visual richness of the images and the quiet, timeless character of the viewing experience. Whilst the spatial concerns that lie at the heart of how her installations are conceived, recall the concerns of sculpture.

Tan has participated in many international exhibitions including the Documenta and the Biennales of Sao Paulo, Istanbul, Sydney and Yokohama. In 2009 Tan represented The Netherlands at the Venice Biennale. Her work is represented in numerous international public and private collections including the Tate Modern, London, the Stedelijk Museum Amsterdam and the New Museum, New York.

Fiona Tan lives and works in Amsterdam. She is represented by Frith Street Gallery, London, Wako Works of Art, Tokyo and Peter Freeman Gallery, New York.







Works

Works


 

 

Contact

Fiona Tan is represented by:

Frith Street Gallery, London
www.frithstreetgallery.com
ann.marie@frithstreetgallery.com

Wako Works of Art, Tokyo
www.wako-art.jp
info@wako-art.jp



Contact:
info@fionatan.nl





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Cloud Island, 2010

HD installation
single channel, colour, surround


This 45 minute film depicts the small island of Inujima which is located in Japan’s Seto Inland Sea. Inujima is in many ways exemplary of Japan’s last 400 years of industrialization. Once an island of fishermen and farmers, Inujima then became a place of granite quarries and copper refineries. Now all the works stand empty; the quarries filled with water, factory chimneys crumbling. The island’s aged population has dwindled to around fifty people who continue their day-to-day lives in this evocative and rather neglected place where clipped trees and well tended allotments stand next to abandoned homes.

Fiona Tan filmed Inujima in May 2010 just as the first phase of a project commissioned by the Naoshima Fukutake Art Museum was being completed. The architect Kazuyo Sejima has been engaged by the museum to create ten pavilions for the exhibition of artworks on the island. So this a moment of transition for Inujima and from time to time one glimpses the building works or one of the startling new structures whose shiny contemporaneity seems somehow at odds with its surroundings. But in Tan’s film this sense of change is felt almost more than it is seen. Cloud Island is a slow, quiet work. A film which is in many ways about waiting.


 
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Cloud Island, 2010

Stills