7 September – 19 October 2019, Tanya Leighton, Berlin
Preview: 6 September, 7-9 pm
Tanya Leighton is pleased to present ‘Fabula Rasa’ — a group exhibition that investigates the literary form of the fable from six artistic positions. Recognising the blend of animate and inanimate objects that lays at the core of fables, ‘Fabula Rasa’ focuses on the potential of this interplay to critically reflect the human condition.
The exhibition title is a word play on the concept of the clean slate or ‘tabula rasa’. Life begins without knowledge and lived experience grows our understanding of the world. As much as fables relay shared memories and moral values, they also offer a way to recalibrate ourselves. The works in the exhibition propose perspectives from which to do so.
Sam Anderson’s interest in the dramaturgical narratives of everyday life often leads her to the recast characters that traditionally play set roles. In this case, the tragic-comic figure of the clown, a figure who both entertains and critiques society, is her subject. Both an outsider and an integral part of a community, the classic humorist tells fables of everyday life to question the ways we live together. This ‘clown’, however, is a fabulous and somewhat menacing caricature of itself — a replica dolphin scull, masked with a teardrop, a red nose, and a row of teeth so long it is hard to discern a smile or a grimace.
Antonio Ballester Moreno’s pictographic paintings are distillations of the fundamental ways in which humanity defines itself in relation to the larger world — knowledge, morality and the nature of being. Ballester Moreno’s geometric forms and palette of primary colours speak to an archaic image-memory, exploring what it actually means to be humane. Trees, mountains, moons and suns constitute a universal lexicon while echoing the building blocks of the ancient fable.
The hand-painted animation by Matt Copson introduces archetypal figures from European mythologies into a dystopian limbo. Here, a headless fox circles a maniacally self-obsessed woodpecker whose monologue details a compulsion to define the object of its love. As an allegory for the artist at work or sociopathic manoeuvring, Copson’s parable delivers an unsettling moral about how we relate to the world around us.
Notions of physical malady recur in the work of Jesse Darling. A winding crutch and a bent walking stick emerge like charmed snakes from an altar-like pedestal that floats above the ground. Part of Darling’s larger project, ‘The Ballad of Saint Jerome’, this sculpture retools the eponymous fable to examine the contemporary relationship between healer and healed.
Michael Dean’s sculptures begin in the realm of language – as a means of expressing love, anger, or grasping for understanding. In their translation from text to thing, Dean’s objects and icons become stand-ins for larger narratives. Considering what it means to create a physical extension of oneself, Dean’s concrete and rebar sculptures are human-scaled, bear traces of their making, and introduce new anthropomorphous characters into the exhibition space.
Staring into space through hollow eyes, the vacant, thinking and feeling figure by Austrian artist Heinz Frank is a residue of a body in distress. Part tree, part box, part mask and part spine, its anatomy consists of natural and artificial components that deconstruct the impressive mythical figure of the lion to an assemblage of objects — some quotidian, some bizarre.
17 – 20 October 2019
Preview: 16 October
'Christine Roland & Ruby Barber'
Hiroka Yamashita Kurfürstenstraße 156
Bauhaus: Utopia in Crisis, curated by Professor Daniel Sturgis
Camberwell Space, Camberwell College of Arts (forthcoming)
16 September – 9 November 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 at Galleria d'Arte Moderna, Milan
11 November 2019 – 5 January 2020
Phaidon Contemporary Artist Series
Text by Julia Bryan-Wilson, Jeannine Tang, and Lanka Tattersall
Beethoven – World.Citizen.Music Bundeskunsthalle, Bonn
17 December 2019 – 26 April 2020
...and other such stories
Chicago Architecture Biennial
19 September 2019 – 5 January 2020
Feminist Avant-Garde of the 1970s. Works from the VERBUND COLLECTION, Centre de Cultura Contemporània de Barcelona, Spain
19 July – 1 December 2019
Maskulinitäten Bonner Kunstverein, Kölnischer Kunstverein und Kunstverein für die Rheinlande und Westfalen, Düsseldorf
1 September – 24 November 2019
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: Melanie Isabel García
Registrar: Henry Babbage
Finance Manager: Stefan Schuster
Tanya Leighton GmbH
Kurfürstenstraße 156 & 24/25
Open Tuesday – Saturday
11am – 6pm and by appointment
7 July – 15 August 2015, Tanya Leighton, Berlin
“Genius lands where genius will, and I’m pretty sure some alighted on Bill Lynch.”
— Roberta Smith, The New York Times, October 2014
Tanya Leighton is proud to present an exhibition of paintings and drawings by Bill Lynch (1960-2013). The exhibition has been curated by Matthew Higgs and developed in collaboration with White Columns, New York.
The exhibition follows two recent, and widely celebrated presentations of Lynch’s work at White Columns (September 2014) and London’s The Approach (January 2015.) The White Columns and Approach exhibitions were selected by Lynch’s friend and fellow painter Verne Dawson. The New York and London exhibitions were the first formal exhibitions of Lynch’s work which were not widely known or exhibited during his lifetime.
Writing on the occasion of the White Columns’ exhibition Dawson said:
“Bill Lynch and I met while students at Cooper Union at the end of the 1970s. Organizing the show at White Columns in New York is surely a most bittersweet experience. It should have happened thirty years ago, or twenty, or ten, or five. But it didn’t. Bill died in 2013 aged 53. He understood touch, understood paint, and understood that these are tools to access the ancient and the present, the living and the dead. His affliction, schizophrenia, eventually made our world difficult for him to be part of.”
Lynch observed the everyday world around him, and in particular the natural world, with an extraordinary degree of empathy. The exhibition at Tanya Leighton will include a group of Lynch’s drawings of frogs and birds, observed from nature, in addition to a group of landscape and still-life paintings made on found wooden supports that Lynch would scavenge from the streets of lower Manhattan. For the most part Lynch’s works remain undated although he worked consistently for more than three decades starting in the early the early 1980s.
Writing about Lynch’s work Michael Wilde has suggested:
“In these pictures everything is alive and communicating wildly. Lynch’s connection to subjects and landscapes, both in life and painting, was empathic: a flower or tree branch sings just as strongly as any bird; likewise a pre-Columbian vessel in spiritual communion with a Chinese philosopher’s stone - and he listened acutely, transcribing their conversation so you could hear it too. Their secrets opened up to him. Everywhere is meaning. Surrounded by his work, you can’t help but be struck by this vibrant language; his sincere belief, his love.”
Bill Lynch (1960-2013) was born in New Mexico and grew up in New Jersey, USA. He studied art in the late 1970s at Cooper Union, New York. Lynch lived in New York, California and North Carolina. He suffered from schizophrenia for many years but died of cancer at the age of 53. His exhibitions at White Columns and The Approach were widely covered including reviews in Artforum, The New Yorker, and The New York Times.
We are grateful to Gerry Lynch and Bill Lynch Snr. and to Bill Lynch’s family and friends for their enthusiasm and support for this exhibition, and we are also indebted to Verne Dawson for bringing Bill Lynch’s work to wider attention.