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
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.