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
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.