Peter Freeman, Inc. in New York opens Fiona Tan's Janine's Room on 30 October, with the exhibition running through 19 December 2026. The centrepiece is a three-channel video installation in 4K and high definition, made in 2025 and lasting around seventeen minutes and forty-three seconds.

The work was commissioned by the Rijksmuseum in Amsterdam for Tan's exhibition Monomania, in which she became the first contemporary artist invited to curate a major show at the museum. Its New York presentation brings a piece made for that landmark occasion to an American audience for the first time.

Janine's Room follows a woman alone among books and papers, reading and writing with compulsive intensity. The camera moves gradually closer, lingering on lace curtains, while a sandstorm gathers inside the room and slowly buries her typewriter. Shot across three channels, the work surrounds the viewer with the room rather than presenting it as a picture to look at, so the experience is closer to being inside someone else's mind than to watching a film. The room becomes at once a refuge and a trap, a place where the urge to record the world is overtaken by the forces that erase it.

The installation takes its cue from a character in W. G. Sebald's novel Vertigo, and it extends Tan's long-standing preoccupation with memory, place and displacement. Built around looking, reading and the slow accumulation of detail, it is a work about how interior lives are shaped by the histories that press in on them. Tan has built her career on film and video installations that layer archival material, personal history and fiction, and Janine's Room continues that method, using one fictional character's obsessive routine to explore how the past settles into private spaces, and how easily it can be buried.