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
Bruce Mclean: Sculpture, Painting, Photography
14 June – 31 August 2014, Firstsite, Colchester, UK
The exhibition features the first major survey of the work of Bruce McLean (b. Glasgow, 1944). Tracing the career of an artist who was at the forefront of the development of Conceptual art in Britain in the 1960s, the exhibition will feature over 100 works across 5 decades including working drawings and photographs never previously exhibited. Sculpture, painting, photography, drawings, ceramics and film will be presented across seven galleries occupying 855 square metres.
Characterised by wit and an often ironic sensibility, Bruce McLean’s work has employed a range of media since the late 1960s. Often considering ‘the condition of sculpture’, McLean has explored the parameters of what a sculpture could be and tested conventional definitions, modes of production and display. These investigations have acted as a critique of social and academic hierarchies at work within the production and exhibition of contemporary art.
A student of Anthony Caro and Phillip King at St. Martin's School of Art, London, McLean was a leading Conceptual artist who challenged the formalist tendencies that were upheld by his tutors. During the late 1960s and early 1970s, he adopted an unconventional approach that often involved working outside the studio or gallery to produce works in the natural or urban landscape. This exhibition will include key examples of his Street Works, Floataways, Shoreskapes and Rockskapes photographic series, which placed process and production at the heart of his endeavour.
Other early works, including Mirror Work, Barnes Common (1969); Installation for Various Parts of the Body (1969) and Pose Piece for Three Plinths Work (1971), introduced the notion of ‘pose’ and an approach to using the body as sculptural material which he explored further through live action and performance in the 1970s, most notably as part of Nice Style, ‘the World’s first Pose Band’. The exhibition will also present a number of recent paintings alongside significant works from the 1980s and 90s, including Ambre Solaire and Going for God II (both 1982), two of the largest and earliest works on canvas, and Jaffa Jaffa Jaffa (1991), a four-metre long painting on steel panel.
The exhibition will feature one of McLean’s major public commissions, a 5.5-metre high steel sculpture entitled Ludgate Head (1992), originally sited on Fleet Place in the City of London. A selection of films will be shown in timed screenings in the auditorium in addition to gallery presentations of Urban Turban (1994) and In the Shadow of Your Smile Bob (1971), a film that McLean made in response to a photograph of the artist Robert Morris that was published in the catalogue for the exhibition When Attitudes Become Form (1969).
The exhibition draws upon public and private collections in the UK and Europe, including the Arnolfini, Bristol; the Arts Council Collection; the British Council; British Land; Museum moderner Kunst Stiftung Ludwig Wien, Vienna; David Roberts Collection, London; the Scottish National Gallery of Modern Art, Edinburgh, Tate and Walker Art Gallery, Liverpool. The exhibition builds upon renewed critical attention and follows a solo exhibition of early and recent work at Leeds Art Gallery, Bruce McLean: Another Condition of Sculpture (15 February – 11 May 2014). It is supported by the Henry Moore Foundation.
A 208-page monograph, edited by firstsite’s Senior Curator, Michelle Cotton, will be launched during the exhibition. It features new essays by Clarrie Wallis, Curator of Modern and Contemporary British Art, Tate Britain and Michelle Cotton and an extended interview with the artist. These are accompanied by over 100 illustrations including new paintings, previously unpublished drawings, posters and ephemera. Covering a period of almost 50 years, it will be the most comprehensive publication on McLean’s work to date.