Galerie Raum mit Licht



Extensity on a whole emerges from depth
Space as pure intuition or spatium is an intensive quantity;(...)
An intensive quantity divides itself, without changing in its nature.
In a certain sense it is hence indivisible (...).

Gilles Deleuze: Difference and Repetition

Drawing, writing, tracing a line is the subject conjoined with totality. The line defines space, as writing does meaning; and body, expanding from the line, is itself inseparable from space. – Space is always fathomless.

Rini Tandon’s deep obsession with space, her desire to understand it or allow it to express itself, is perhaps most apparent in her drawings on photo cardboard entitled Transducers and Transformers. The rhythm of simple lines generates a multidimensional space that is theoretically only accessible through the abstract thinking of mathematical topology. Yet the depth springs from perception, the perspective of a deep inner self.

 Objects, sculptures, in-situ installations: Rini Tandon’s artistic position has its roots in the paradigms of minimalism – positive/negative, void and volume, positivity and its reversal in real space transformed to virtual space. However, the artist frequently refers to an invisible space within a visible space; pipes and nylon cords in several installations embody the form that itself is the bearer of a void.

Space as a viewing principle provides an opportunity to perceive, and only then thereby forms the spatial and three-dimensional; this Kantian theorem has been confirmed by mod-ern brain research. The Chromolux work Red Green White, for example, makes an associa-tive reference to the open structure of this inner space. The collage-like works behind Plexi-glas, named after the raw material with which they are produced (Chromolux), as well as the most recent multidimensional photographic works with intertwining layers physically demonstrate three-dimensionality as being constituted of duration and memory. When Kant sets space and time as the a priori conditions for each cognitive experience (in perception and notion), this space is thus to be understood as one that is coming into being, emerging from the passive synthesis of time.

From silk threads the spider spins its web, which is the basis for its existence. Space as an intensive quantity however, does not simply anticipate perception. From its moving points of origin, flowing and intrinsically variable spaces of affect develop. Deleuze differentiates smooth spaces (attributed to nomads) from the striated space of the sedentary. Not divided matter, but rather the relations of forces and affects create smooth indivisible spaces.
Just like with the objects Fluid Triumph und Fluid Circuit, the three-dimensional quality is the appearance of transformation, amorphous and informalist, related to mathematic spaces of Riemann, manifesting affinity to local intertwined positions or emotional states. That which is solid becomes fluid, steps over into another framework, both spaces of affect invent a shared domain concerning only themselves. In Wandering Attributes, complex wall objects with built-in magnifying glasses, the multiplication of space in the refraction of per-spectives also takes the viewer into account in an arrangement that is constantly being re-generated.
The absolute, the invisible space that Rini Tandon identifies as the reference of sculpture, proves to be the immanence plan of intensity.
Smooth spaces do not possess any additional dimension compared to that which they inter-sect.

Rini Tandon speaks of herself as a catalyst. The artist attempts, following the intentions of material, to enable form that will then ultimately take shape in space. The potential form is already stored in the material and obtains its expression from the material. Only the milk can get sour, not the milk container, and it is one form of milk to go sour. The materializa-tion of a form is present virtually in the milk, not unlike a rolled up towel that has the meas-urements of its unfolded state.

The sun shines. It is its nature to radiate. Solar Scheme, an object transformed into an image, or bright yellow nylon cords wrapped through and around an object with a hollow center – this complex duplication of space and image means precisely this: The sun exists only in the actuality of its radiating and of being touched thereby.

Rini Tandon was born 1956 in India where she grew up.
Her background in the arts and the development of her own position was in contact with art of western postmodernism and current natural sciences. Yet the idea of the absolute in her art, I believe, can be seen as indebted to Indian culture. Brahman, spirit, the primordial source for everything, the vastness of space and Shakti, the often feminine force of empowerment, are, at least in the tantric schools of thought, the origins for all that is to be. Space as a principle operates in its appearances.
Daniela Hölzl 2013

The show at Raum mit Licht Gallery presents works by Rini Tandon comprising a wide spectrum of models that examine absolute and abstract spaces. A perceptible correlation between the objects, photographic works and drawings in the exhibition emerges as they are all based in the same sculptural process.

The title of the show to spaces unsigned refers to unlabelled, undefined spaces, attributeless and without ascription of value, as opposed to concepts of space that are understood as property or as means of control. Exploring Zero as a measure, Rini Tandon analyses structures generated by materials and their relation to attributes of space. She fuses theoretical information with and at the same time disconnects it from experiential knowledge in an attempt to expand on the ‘unsigned’, linking scientific awareness with poetic metaphor.

“… her concerns have addressed ‘the invisibility of inferential space but also the imperceptibility of ubiquitous space’... She has expanded upon and elaborated the language of Minimalism, introducing content from other disciplines, such as quantum physics, making her interest in cosmological issues evident”.
(Peter Nagy: On the Work of Rini Tandon, Neue Galerie, Landesmuseum Graz, 2000/ Text: Nature Morte, Berlin.)
Tandon uses numerous materials and media to explore an elementary aspect of the natural world, examining themes such as materiality, space, energy and structure, claiming the use of time/space as malleable ‘materials’ to sculpt with, as in the photographic works titled Optical Chasm, The Geometry of Illusion I or Shooting Location. These works focus the mechanism between the object and its perception, between knowledge and perceptual experience, producing a new interactive space at the point of conjunction where the object and its perception meet. Questioning the tangibility of physical reality, Tandon has implemented methods for ‘absenting the given’ in different forms.

“The artist creates solid sculptures that strive for a state of fluidity, while in her photographs there is sculptural thrust, a movement towards three-dimensionality. What is perhaps most crucial here is her preoccupation with the topological aspects of perception and the imperceptibility of actual space”. (Camilla Nielsen, Making a Splash, ART INDIA, 2009.)

Sculptural models examine attributes of space, weighing them against properties of the finite as in the works Concrete Time, Breath-Field or Wandering Attributes. Also included in the exhibition is Echo Location 2 in which a prefabricated blue line ‘scans’ the three-dimensional objects, defining their forms. Assuming imperceptbility as an inseparable quality of the perceivable, the work draws analogy to an oscillating expanse whose spatial structures it surfs.

"Tandon’s new works are most compelling when considered as an exploration of the artist’s interest in a specialized subject matter, as well as an attempt to convey information and share her fascination with viewers. This is ultimately an aesthetic strength… leading others to ponder her curiosity and to empathize with her investigation of such distinctive intellectual issues”.
(Ana Finel Honigman, ARTFORUM, 2009.)

Rini Tandon, born in India, lives and works in Vienna since 1978.
She studied at the Universities of Delhi and Baroda, India and at the University of Applied Arts in Vienna. She has been teaching at the University of Applied Arts Vienna since 1987. Numerous publications record her participation in exhibitions.