Fiona Tan

Mountains and Molehills

2 October 2022 – 8 January 2023

Eye Filmmuseum

Fiona Tan is known for her video and film installations in which she explores memory, history, globalisation and the role of images.

This exhibition is a journey through a selection of works from her oeuvre, in which the passing of time and the role of the landscape as a mental space are recurring themes.

For Tan, time is both a medium and a vehicle. It is a material that she studies, shapes and processes into artworks – often in combination with still and moving images. The artist observes a critical yet poetic gaze at forms of perception and representation. How do you make a true or honest portrait of an individual, a community, a place or a time?

Tickets & Info

Fiona-Tan-Footsteps-2022-1-still[1] — Fiona Tan, Footsteps (2022), still, HD video installation, tinted, hand coloured and b&w, 5:1 surround, courtesy the artist and Frith Street Gallery, London

Fiona-Tan-Inventory-2012-1-installatie[1] — Fiona Tan, Inventory (2012), installation view, HD video and video installation, colour, stereo, photo: Frith Street Gallery, London, courtesy the artist and Frith Street Gallery, London

Fiona-Tan-Vertical-Wide-2018-2-still[1] — Fiona Tan, Vertical Wide (2018), still, HD video installation, colour, silent, courtesy the artist and Frith Street Gallery, London

Fiona-Tan-Gray-Glass-2020-2-still[1] — Fiona Tan, Gray Glass (2020), still, 3 channel 4K video installation, black & white, 3 x mono, courtesy the artist and Frith Street Gallery, London

Fiona-Tan-Island-2008-2-still[1] — Fiona Tan, Island (2008), still, HD video installation, b&w, 5:1 surround, courtesy the artist and Frith Street Gallery, London

Catalogue

This publication focuses on her works Gray Glass (2020), Inventory (2012) and Footsteps (2022), the key works in the Eye exhibition of the same name. Hanneke Grootenboer reflects in an essay on the way in which looking, thinking and time come together in Tan’s work. She places her oeuvre in a broad historical and philosophical context of visual culture. In an interview with Dana Linssen, Tan provides insight into the creative process and shares considerations about exhibiting her work.

The publication bears the character of a sketchbook, with texts and notes by the artist herself, and thus offers a valuable insight into her vision and working method. The works are richly illustrated with installation photos, film stills, and photos from behind the scenes. Finally, the full text of the works Brendan’s Isle (2010) and Island (2008) is included.

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