"Material offers resistance and obstacles." | Artist Fiona Tan | Louisiana Channel

Artist and filmmaker Fiona Tan discusses the importance of working with physical materials like analog film and old printing techniques. Since making her first film as an art student in 1989, Tan has made works using an array of different media: from Laserdisc over Super 16 film to 4k digital cinema.
The question of the medium often takes on a central role in Tan’s praxis. In an essay on her 6-channel installation Inventory (2012), Tan notes: ”All media are faulty, and yet each has its own intrinsic beauty. Each camera has its own look and produces shots in a unique style all its own, each is far from perfect, some have more charm than others. But all are most definitely translations, none represent reality - what my eye can see as I have seen it.”
Many of Tan’s works are situated on the uncertain thresholds of the imaged and real, the abstract and the physical. Often in her work, she explores the crossovers between analog and digital techniques. One of the ways in which she is bridging the analog and the digital is by producing photogravures of stills from her films, transforming her digital works into physical objects through old manual techniques. In this film, we follow Tan working on her series Technicolor Dreaming (2022) at the printmaking studio BORCH Editions in Copenhagen.
Fiona Tan (b. 1966, Pekan Baru, Indonesia) lives in Amsterdam, where she studied at the Gerrit Rietveld Academie, and the Rijksakademie van Beeldende Kunst. Her oeuvre spans multiple media, such as photography, film, and video art installations. Born in Indonesia and raised in Australia by her Chinese-Australian parents, Tan’s work regularly explores issues of global cultural imprint. Often combining elements of fiction and non-fiction, her work explores themes such as memory, identity, and history.
Fiona Tan was featured at Documenta 11 in 2002 and was the Dutch representative at the 53rd Venice Biennale (2009). Previous solo exhibitions include Eye Filmmuseum, (Amsterdam, 2022), Museum der Moderne (Salzburg, 2020), MACS Grand-Hornu (Boussu, 2019), Museum Ludwig, Cologne (2019), Brisbane Institute of Contemporary Art (2017), Tel Aviv Museum (2017) and Fondazione MAXXI (Rome, 2013). In 2019 Fiona Tan was awarded the SPECTRUM International Prize for Photography and in 2017 she received the 2017 Amsterdamprijs voor de kunst.
Fiona Tan was interviewed by Nanna Rebekka at BORCH Editions in Copenhagen, Denmark. The conversation was recorded in November 2022.
Camera: Simon Weyhe
Produced and edited by: Nanna Rebekka
Copyright: Louisiana Channel, Louisiana Museum of Modern Art, 2023
Louisiana Channel is supported by Den A.P. Møllerske Støttefond, Ny Carlsbergfondet, C.L. Davids Fond og Samling and Fritz Hansen.
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* "Editing is like sculpting in time." For artist and filmmaker Fiona Tan, time is both a raw material and a subject. Watch the video right here:* kzbin.info/www/bejne/Y5Orfpduqaipf6M

[@TD-qi2rw]

Loved this !! Artistry, courage and visual play.

[@mikebaginy8731]

Fascinatingly beautiful prints.🥰

[@JOSEPHCHARLESCOLIN2024]

i use my face as a paintbrush and paint a canvas with it and 100% understand Fiona now more

[@LaoZi2023]

Nice work!

[@paddyhennessy6504]

yes

[@ivanklymenko]

🤩🤩🤩

[@LaoZi2023]

Does anyone know how Fiona put the original print on the paper? Daguerreotype, or basic light table photography, etc.

[@ludvigmagnusson6834]

Violin music? Anyone🙏🏻

[@xxafroman]

what his the print workshop called?

[@harmoniiblaa134]

BORCH Editions. Sublime workshop based in Copenhagen.

[@Knoteworthy]

How do people who do art like this pay their bills? This seems too extensive to be a passion project

[@johnmorgan5495]

Is this a big deal ? NO its NOT Over blown nonsense