To Name A Few
27 April – 22 June 2019, Tanya Leighton, Berlin
Preview: Friday, 26 April 7–9 pm
I am sitting here with this feeling, and it is a familiar feeling, and it is my heart.
I am needing to reassure myself that I am not writing this letter to you, that I am
just writing it, simply writing it, simply letting it wander out.
I feel sad. My heart, my chest, what fills my chest, something like the taste of
copper, like sucking on a penny, like licking a 9 volt battery and getting a little
shock. It’s here, a little shock.
It has never been so apparent, the workings of shame embedded in my being so
old and outside, yet all the same my own deep thing to tend to, untangle, air out
And I guess it’s true, now I am writing to you. I am writing to you from me and
also to myself.
But isn’t that a letter?
The linear scroll is scraping against the pavement.
In my delusions I am literally some kind of a hero and that is embarrassing.
What holds the reigns, I think of some force, nameless, shapeless within and
outside this bodily container. Sending signals into outer space and actually
I can tell you the joy of this spring day, the brightness of 4PM light, the spirits
that burst through at this time. It’s almost too much of a drunken feeling to
manage. It’s almost too much.
There is my heart again. You know, I haven’t been able to feel my heart in so
And now I pause, and just stare at my hands, still on the board.
And in this moment I decided this letter is no longer for you, because I know
that you don’t want it.
This letter is for my heart, and I can say anything to my heart.
Right now, I am saying to my heart, I am sorry. I am sorry that I wrapped you up in cotton batting and put you away all tampered down and quiet. I am sorry that I hid you from myself, that I turned away from you while we were sleeping, and on purpose, many times.
I am sorry that I turned away from you, my heart. My beautiful, my tender, my sensitive, my loving, my strong, strong heart. And I am so sorry that I put you to rest so often as to no longer feel anything between my ribs and the sky.
To Name a Few
Tanya Leighton, Berlin
Gallery Weekend 2019
26 April – 22 June 2019
David Diao, 2018
Delmonico books — Prestel
With contributions from Philip Tinari, Michael Corris, Pi Li, Sarah K. Rich, Felicia Chen, Kerry Doran
Recipient of the 2019 Arnaldo Pomodoro Sculpture Prize
Solo exhibition opens in Fall 2019
Galleria d'Arte Moderna, Milan
Phaidon Contemporary Artist Series
Text by Julia Bryan-Wilson, Jeannine Tang, and Lanka Tattersall
...and other such stories
Chicago Architecture Biennial
Chicago Cultural Center
19 September 2019 – 5 January 2020
Fondazione Morra Greco, Naples
Tanya Leighton is delighted to announce that the Museum of Modern Art, New York has acquired Marianne Wex's Let's Take Back Our Space: 'Female' and 'Male' Body Language as a Result of Patriarchal Structures, 1977
Tanya Leighton Gallery, Berlin, established in 2008, is dedicated to developing a cross-disciplinary, trans-generational gallery programme with off-site projects, in collaboration with artists, filmmakers, critics, art historians, and curators. Its international exhibition programme reflects a variety of opinions and practices as well as Leighton’s associations with American and British experimental cinema, artist’s film and video, performance, minimal and conceptual art.
Director: Simon Gowing
Director: Patrick Armstrong
Project Manager: Marie Egger
Gallery Manager: Jessica Aimufua
Registrar: Henry Babbage
Finance Manager: Stefan Schuster
Tanya Leighton GmbH
Kurfürstenstraße 156 & 24/25
Open Tuesday – Saturday
11am – 6pm and by appointment
Another Condition of Sculpture
15 February – 11 May 2014, Leeds Art Gallery, UK
Bruce McLean has been investigating the condition of sculpture since the late 1960s. In a range of media he has creatively interrogated its diverse possibilities of meaning and its presentations, its private and public settings and its critical contexts. This exhibition at Leeds Art Gallery brings together paintings, drawings, ceramics, films and photographs from 1960s to the present day highlighting his continuously lively, witty and profound inquiry. Of particular interest is a new body of paintings, realised by McLean now in his 70th year, in which he carries forward his frank and open dialogue with sculptures and sculptors of the past.
The exhibition displays Henry Moore’s Falling Warrior (1956-7) alongside McLean’s early work Fallen Warrior (1969) a photographic documentation of a performance, when he used his own body to parody the poses of Henry Moore’s celebrated work. McLean has done more than perhaps any other British artist since the 1960s to keep sculpture both conceptually mobile and relevant. At a time when many sculptors were eliminating the plinth McLean brought it back, emphasising its incitement to stagecraft and theatricality.
Another condition of sculpture presents original documentation of Mclean’s performance works and sculpture from late 1960s and 1970s including rarely seen photographs where Mclean projects onto, covers up and props his body to interrogate the notion of using his whole body as a sculptural vehicle of expression. Included in the exhibition is a selection of new paintings of things that look like sculpture. These are sometimes based on photographs of sculpture, overlapping paintings of sculpture, installed in the gallery to question the relationship between painting and sculpture and may be regarded as paintings, but McLean is a sculptor and he considers his whole body of work from performance, photography, film, ceramics to be sculpture. Together they all contribute to introduce McLean to a new audience and explore his work over the last 50 years through a prism of new and recent work.