The exhibition “Geography of Time”, which brings together ten works made between 2000 and 2013, highlights the importance in the artist’s practice of the intimate links that connect individuals to the space and time they inhabit. The works in this survey, evoking diverse influences such as historic Dutch painting or modern photographers such as August Sander, encourage viewers to reconsider the very idea of portraiture as a fixed entity and focus instead on its permeable, evasive and evanescent dimension. Whether imaginary or real, the protagonists around which Fiona Tan constructs her video installations are often at the centre of the image, as in the six filmed portraits of inhabitants of Amsterdam that form  Provenance, or in Nellie, a portrait of Cornelia van Rijn, Rembrandt’s illegitimate daughter, who emigrated to Indonesia at the age of sixteen. In other works, their presence becomes manifest through their absence, as in Inventory, which combines sequences shot inside Sir John Soane’s Museum in London.

Fiona Tan describes time as “both a tool with which to shape and chisel, and a material to fold, distort and configure’. Each of the works in this exhibition offers one possible manifestation of this approach to time. As the essence of the videographic or photographic medium, time is considered in its subjective nature – through its lapses, omissions, reoccurrences, slow motions, repetitions, discrepancies, simultaneities, and coincidences. This “geography of time” is inscribed in the very form of Fiona Tan’s works, the editing of her video installations, their spatial and architectural dimensions, the ambiguous relationships they establish between the still and the moving image (which the artist refers to as “photographic moments”), and the gaps they open up between image and sound.