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
Bulls Without Horns
30 April – 25 June 2016, Tanya Leighton, Berlin
Last October, I visited a panel discussion in New York focusing on the potential applications of CRISPR/Cas9, a new genome-editing tool that has been called the ‘Model T of genetics,’ in terms of its potential to create a widespread revolution in bioengineering. Like the Ford Model T, CRISPR is not the first technology of its kind, but it transformed the landscape by making a complex tool cheap and reliable.
During the panel, evolutionary biologist Kevin Esvelt, who calls himself an ‘evolutionary sculptor,’ tried to explain the capabilities of CRISPR technology to the audience with an example. “This means that if a rich guy’s daughter wants a unicorn for her birthday, we can do that!” At that point, an audience member asked, “What about bulls without horns?” Molecular biologist Jennifer Doundna replied, “That is already being done.”
The following text is a transcript of an interview I made on 24 March 2016 with Alison Van Eenennaam, an animal geneticist at UC Davis in California who is currently working with the first two bulls to have been genetically edited so they grow no horns.
Aleksandra Domanović: In layman’s terms, please can you explain how these two bulls, Spotigy and Buri, came into existence?
Alison Van Eenennaam: These two are Holstein bulls that have a change in one of the genes in their DNA. This was done using a tool called a TALEN – a nuclease that basically acts as a pair of molecular scissors – which goes in and cuts the DNA at exactly the location that we tell it to. We told it to cut the gene that grows horns in dairy cattle. We wanted to replace the allele (or variant) of the gene that is present in dairy cattle with that of beef cattle. So we went in and tweaked that gene so that it’s now the allele that’s found in beef cattle – Angus cattle – and so, therefore, they are naturally not going to grow horns. They’re genetically de-horned.
But how do you know which gene is responsible for which trait?
The bovine genome has been sequenced, and researchers have been mapping different traits to genes in different locations in the genome for years.
How do they map this? This is what has always fascinated me.
So that’s going back to old school. Let’s just say you’ve got 100 animals that are horned and 100 animals that don’t have horns, and you compare their DNA sequence. Normally, you will see a random 50/50 split between big ‘A’ and little ‘a’ alleles at all locations in the genome. But when you get to the end of the chromosome that has the gene that grows horns, you will see that all of the animals that don’t grow horns have an ‘A’ allele, and all of the ones that do grow horns have two copies of the ‘a’ allele. And that’s a sign that you’re near the gene – or in the region – that’s associated with the trait of interest. It’s a little more complicated than a single DNA nucleotide that makes the ‘a’ allele. It’s actually more like a couple of hundred nucleotides, but the concept is replacing the ‘a’ allele with the ‘A’ allele that doesn’t grow horns. And then of course, those bulls will pass that ‘A’ allele onto their offspring; the same way I passed blue eyes onto my children.
How were these clones produced?
These bulls were produced by doing genome editing in cell culture. We collaborated on this project with a company called Recombinetics, and they worked in cell culture to use TALENs to replace the allele that grows horns with the allele that doesn’t grow horns – the one from Angus. Once they had confirmed that they had successfully replaced the allele
and made sure that that the swap had happened, they then cloned cells from the culture dish to grow into the two bulls.
It’s confusing to me because I thought that clones would always be 100% identical.
Well, have you ever seen identical twins? I mean, they’re never 100% identical either. And the thing that’s a little bit confusing about black and white Holsteins is that their exact color pattern is determined by the migration of the cells during embryo genesis; they have the same amount of black and white, but it might be distributed a little bit differently.
So, you’ll see they both have spots on their heads kind of where their horns would be, which is just serendipity, it’s not because of anything that we did with the genetic dehorning. That’s why I named him Spotigy! But you’ll see the spots are not quite the same and the coat patterns are not quite identical. But they’re generally similar, so they have about the
same amount of black and white.
Why are horned cattle undesirable? What are the main issues?
The main issues with domesticated animals with horns are that they hurt each other and they also hurt their human handlers. And so, if you look back in time before dehorning was done, people got gored by animals, and animals got gored by other animals from the horns. The horns obviously had a historical purpose when cattle were running in the wild and fending off wolves or other predators, but now they’re actually quite a health risk to both animals and the people. That’s really the reason they’re almost routinely removed from animals in the dairy industry globally. And it’s just kind of unfortunate that the best dairy genetics happens to have the horned phenotype – there’s no reason cattle have to have horns, this characteristic just kind of hitchhiked along with the good dairy genetics.
So, as a breeder I see genetics as a better solution to the problem than cutting or burning off their horns. In the same way, I see breeding for disease resistance as a better and more animal-friendly solution to disease, rather than having sick animals that require treatment with antibiotics. To me, genetics offer a more sustainable and permanent approach to address problems in livestock production systems, and that’s my interest.
I read that bulls with horns are more virile and that’s why they are preferable. But that is not the case, right?
Well, there’s a little bit of history in the development of dairy breeds, where animals that had better dairy genetics also happened to be carrying the ‘a’ allele at the horn gene and so they had horns. But it’s not because there is causal relationship between horns and milk production. There’s a potential for confusion between correlation and causation, like,
“Oh, when I look, all of the good dairy genetic bulls have horns, therefore horns must make good dairy genetics.” But no, no, no – that’s called a spurious correlation. The horned ‘a’ allele was a genetic hitchhiker along with the genes for high milk production, it did not cause it. And if you actually do what we did, which is replace the ‘a’ allele with the ‘A’ allele at
the horned gene, we didn’t change the dairy genetic merit of those animals in any other way, we just made it so they don’t grow horns.
Could these genetic modifications also have been done with CRISPRs?
Yes. CRISPRs, like TALENs, are ‘site-directed nucleases.’ That means that you can direct the nuclease to a specific site in the genome where you want it to perform a double-stranded cut in the DNA double helix. So, if I tell it I want it to go to chromosome 10, base-pair number 6,533, which has this particular sequence and make a double-stranded cut, I can do that. I can use TALENs to do it, I can use CRISPRs, or I can use Zinc-finger = Nucleases. If we look at the efficiency of doing that, and the ease of doing that and the cost of doing that, the most expensive and difficult is ZFNs, and then TALENs, and then CRISPRs. And that’s part of the reason that CRISPRs have become so widely talked about, and become all the buzz. Because they’re relatively inexpensive to design and effective, and this has really democratized this type of technology.
I’ve been following the development of CRISPR/Cas9 technology for a couple of years now. What initially caught my attention was that there are two women leading the field, Jennifer Doudna and Emmanuelle Charpentier. What has your experience being a woman in science been like?
Well it’s been challenging, but not as challenging as it was for my predecessors, who frequently had to make the choice to forgo having children to pursue a career in science. Scientific progress and the discoveries being generated in competing laboratories do not stop for maternity leave or child rearing. If you take too much time off, you risk your science falling behind. My two sons are now teenagers, but balancing my work and child rearing in their early years was extremely challenging. Yes, I have a bit of a crazy work/life balance, but I have always thought that term was a misnomer. Work is not a separate activity to be weighed against life, it is a really important part of life. To me work, life, family, leisure, kids, all are just one big jumbled mess. I love the intellectual freedom my career offers me, and find great satisfaction in using science and innovation to try to solve problems. I have faced some sexism and obstacles as a woman, but I just get on with the job and try not to let it hold me back.
Another leading figure in genetics that I have been researching is James Watson. Actually, I first read about him when he was excommunicated from the scientific community and auctioned off his Nobel Prize medal for millions of dollars. He said he wanted to use that money to buy, among other things, a David Hockney painting. But I was wondering if you could talk about another aspect of Watson: his connection to Rosalind Franklin, who was one of the co-discoverers of the structure of DNA?
Rosalind Franklin was an English chemist and X-ray crystallographer who was supervising a PhD student who took the famous X-ray photograph that suggested a double-helix structure of DNA. There is some controversy as to whether that photo was shown to Jim Watson and Francis Crick without Franklin’s knowledge prior to their famous 1953 paper detailing the proposed structure of DNA. Regardless, her name was not acknowledged in their 1962 Nobel Prize acceptance speeches. Rosalind Franklin died in 1958 of ovarian cancer, at the tender age of 37.
I think the thing that is interesting in the discussions around Rosalind Franklin are the many references to her appearance and difficult personality. In Jim Watson’s 1968 book, ‘The Double Helix,’ she is portrayed as a cold woman who, “might have been pretty if she had taken her glasses off and done something interesting with her hair.” You never see such comments about male scientists. Not to pick on Einstein, but he had some interesting hair!
This is Aleksandra Domanović’s second solo exhibition at the gallery. Her recent major solo exhibitions include Museum Boijmans Van Beuningen, Rotterdam; Schwarz Foundation, Samos; Gallery of Modern Art, Glasgow; firstsite, Colchester; and Kunsthalle Basel. Her work has been featured in recent group exhibitions at Walker Art Center, Minneapolis; Whitechapel Gallery, London; New Museum, New York; Dallas Museum of Art; Palais de Tokyo, Paris; Ullens Center for Contemporary Art, Beijing; and Kunsthalle Vienna. She was the recipient of the 2014/5 Ars Viva prize for artists working in Germany.
The photographs in this exhibition were taken on location at UC Davis in California by Spencer Lowell in collaboration with Aleksandra Domanović.