29 June – 24 August 2019, Tanya Leighton, Berlin
Preview: 28 June 2019, 7–9 pm
Tanya Leighton is pleased to present ‘Nel Mezzo’, Sharon Hayes’ third solo exhibition at the gallery and the first presentation in Germany of her on-going video series ‘Ricerche’.
Sharon Hayes investigates the act of public speech and its intersections with history, politics, activism, queer theory, love and sexuality. In performances, videos, and installations, the artist examines these notions with regard to both the collective and the individual voice. ‘Ricerche’ is a project composed of multiple video works that uses Pier Paolo Pasolini’s film ‘Comizi d’amore’ (Love Meetings) as a guidepost for an examination of gender, sexuality and contemporary collective identifications.
In 1963, Pasolini travelled through Italy with a small camera crew on a cinematic inquiry. Interviewing groups of people (neighbours, co-workers, families, students, army buddies and members of a football team) on their views on sex, sexuality and what Pasolini named “inversion” or “perversion”. Pasolini divides this cinematic report into ‘Ricerches’ (Researches). As he moves from beach resorts, to town centres, to fields, universities and factories throughout the country, the work gathers various frictions: between the north and the south, progress and maintenance, young and old, children and parents, urban and rural, etc.
In her work ‘Ricerche’, Sharon Hayes adapts the structure of ‘Comizi d’amore’, following Pasolini’s foundational conceit to interview people outside and in groups. Borrowing from Pasolini’s questions and shot composition, Hayes’ works isolate certain of Pasolini’s scenes and stretch them in volume and duration. ‘Ricerche’ unfolds a contemporary field of non-hetero-normative family structures and non-binary gender identifications, and attempts to account for the complex contemporary conditions that inform collective understandings of gender, sex and sexuality as well as national, religious and ethnic identities.
Ricerche: three, 2013
Single Channel HD Video (Colour, Sound) 38 minutes
Commissioned for the 55th Biennale di Venezia in 2013, this work is an interview with 35 students at Mount Holyoke College in Massachusetts.
An all-women’s college, Mount Holyoke faced decades of declining enrolment from US born women and made a commitment, in the 1960s to heavily recruit international women. In the last decade, Mount Holyoke, as with many of these gender-segregated institutions, faced the increasing necessity to accommodate students who decide (after enrolment) to change their gender from female to male. On this level, and indeed less explicit ones, the population attending Mount Holyoke exists on a much wider gender spectrum than the description “all women’s college“ can hold clear.
In ‘Ricerche: three’ the 35 interviewees gather in one location, discussing gender normativity, religion, marriage, sex and queerness. In the last 12 minutes of the piece, the group erupts into a heated debate about transnational feminisms and the legacies of US imperialisms.
Ricerche: one, 2019
Two Channel HD Video (Colour, Sound) 28 minutes
This video diptych is Hayes’ most recent addition to the series. Structurally, it begins the same way ‘Comizi d’amore’ does, as Hayes gathers groups of children to ask the question: “Where do babies come from?”
Shot over one week in Provincetown, Massachusetts, all of the participants in Hayes’ video are the children of queer or gender nonconforming parents. The work is composed of interviews with two age groups: 5-8 year olds and young adults. Similar to those in Pasolini’s interviews, the young children on screen produce delightfully fragmented answers that mix imagination, fantasy, and words they repeat from things adults have said to them.
The young adults on the opposite screen, are deeply experienced with the narrative of their families and their births, most of them having had to account for their families repeatedly over the two and three decades of their lives. These interviews share detailed perspectives on their complex family histories and their position and role in the quickly evolving political and juridical landscape for queer people, and by extension queer child rearing, in the United States.
Come out!, 2019
Acrylic paint and newspaper on textile
110 x 154,5 cm
43.3 x 60.83 “
Hayes’ most recent work in the exhibition is ‘Come out!’. Facing the wall, this protest banner is hung back to front to inverse its slogan, which bleeds through the fabric. Scraps of a layer of newspaper – presumably used as a drop cloth – are stuck to the paint on what is now the front of the banner. Collected during the week of 15 June 2019, snippets of still recent news items can be made out, creating a fragmented snapshot of our current cultural moment.
'Come Out!' was a magazine published by The Gay Liberation Front. GLF, a multi-issue radical political liberation movement, existed from 1969-1973, coalescing in the aftermath of the Stonewall Uprising. The GLF often used the magazine as a recruitment tool, and something like a megaphone and a protest banner.
Sharon Hayes is one of the most influential politically and socially committed artists working in the United States. She has been the subject of retrospectives at the Whitney Museum of American Art, New York; Museo Nacional Centro de Arte Reina Sofía, Madrid; and currently at Moderna Museet, Stockholm (on view until 11 August 2019). Hayes’ work is part of the public collections of Tate, London; Museum of Modern Art, New York; Solomon R. Guggenheim Museum, New York; Whitney Museum of American Art, New York; Dallas Museum of Art; San Francisco Museum of Modern Art; Kunstmuseum St. Gallen; Museum of Modern Art Warsaw, Warsaw; among many others.
Sharon Hayes lives and works in Philadelphia, where she holds the position of Associate Professor of Fine Arts at the University of Pennsylvania.
26 April 2019
An ongoing curated project with artists, designers, ceramicists and florists
Paris Internationale 2019
17 – 20 October 2019
Preview: 16 October 2019
Throwback Jack, group show curated by Amanda Schmitt, Fredericks & Freiser Gallery, New York, NY
20 June – 26 July 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
Travelling Exhibitions Programme of 33rd Bienal de São Paulo
Campinas, Recife, Medellín (Colômbia)
March 2019–January 2020
Fondazione Morra Greco, Naples
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
Interim 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
2 March – 12 April 2014, Tanya Leighton, Berlin
Tanya Leighton Gallery is proud to present a solo exhibition by the celebrated British Pop artist Derek Boshier, his first in Berlin. Boshier, whose career spans over 50 years, has been lauded as one of the founding contributors of Pop. Featured in Ken Russell’s historic documentary ‘Pop Goes The Easel’ (1962) along with Peter Blake, Pauline Boty, and Peter Philips, Boshier's unique sensibility and rigorous mining of popular culture has contributed an immense amount to the movement of Pop Art – a movement which continues to aptly spotlight some of the more disconcerting aspects of contemporary culture.
Featuring a survey of works selected from throughout the artist’s career, Boshier’s exhibition revolves largely around two under-appreciated films from the early ’70s, ‘Link’ (1970) and ‘Reel’ (1973). Masterpieces of montage, both of these films exemplify Boshier’s interest in depicting and deriding popular culture. Originally addressed in his paintings and collages from the early ’60s, which became known as the first exemplars of British Pop Art, Boshier’s approach to advertising and popular culture melds with the conventions of film.
‘Link’ possesses a striking contemporaneity while managing to examine and toy with Modernist and Post-Modernist history. This fourteen-minute montage passes through myriad manifestations of the three primary forms – the square, triangle, and the circle – famously mused over by Vasily Kandinsky and his pedagogical cohorts at the Bauhaus. Drawing from a variety of sources, including everything from mosques, to the female anatomy, to comic books, Boshier’s primary forms are not sacred like Kandisnky’s, but libidinal, charged, and indicative of the visual clutter familiar to everyday living. Images appear and fade into one another according to a logic strictly governed by formal criteria, yet the piece is brimming with Pop narrative.
‘Reel’ pits the documentarian and the fictional against each other to tease out filmic convention and undermine viewers’ expectations. A pair of silver, platform heels is the thread that walks through a seemingly well-mannered romp through English culture. As the shoes find themselves in new locations, resting for a moment at the polo grounds, onward to commotion on the street, the viewer becomes aware of a biting critique of English colonialism, fetishism, and the social hierarchy that inspires it. Still images culled from advertising and other sources alternate with time-based footage, intertwining a witty humor with pointed cultural criticism.
In dialogue with the historical works being presented in the upper gallery, two of the artist’s latest films, ‘Best Foot Forward’ and ‘Did You See... That?’ are screening in the downstairs gallery space. Both works (2014) – debuting here – expand on the filmic techniques that Boshier has used since his early films – montage, still image, and varied means of appropriation. The two films are accompanied by a selection of artworks and ephemera dating from the late 1950s to today.
‘Link’, ‘Reel’, ‘Best Foot Forward’, and ‘Did You See That?’ all display a keen and nuanced sense of the cinematic as a space delineated by convention but open to experimentation, exploring and expanding the form’s possibilities. As such, they testify to the need to re-evaluate the pioneering British Pop artist’s practice, not just as a painter and draughtsman, but as filmmaker as well.
Alongside the films, at the gallery’s second location (Kurfürstenstraße 13/14), Boshier will show ‘Change’ (1973) a monumental series of collages that measures 34 meters in total. A winding embodiment of celluloid, ‘Change’ slows the experience of viewing a film from 24 frames per second to a pace dictated solely by the artwork’s viewer. Much like ‘Link’ and ‘Reel’, ‘Change’ employs an idiosyncratic logic that is part formal and part sociopolitical. Images gradually transform into others through a vaguely biological process of measured change. A subjective form of animation – the speed with which Boshier’s ideas and images morph is left to his audience. The immense installation was originally shown at the Whitechapel Gallery, London in 1973, and has not been publicly displayed since. ‘Change’ is shown alongside a stop motion film of the same name, also dating from 1973.
Derek Boshier (b. 1937, Portsmouth; based in LA) is a British painter, sculptor, photographer, printmaker, and filmmaker. Boshier graduated from the Royal College of Art, London in 1962, where along with David Hockney, Allen Jones, and Peter Phillips, he was one of the students associated with Pop Art. In 1962, he appeared in Ken Russell’s ‘Pop Goes the Easel’ with Peter Blake, Pauline Boty, and Peter Phillips. Notable solo exhibitions include: Robert Fraser Gallery, London; Galerie Bichofsberger, Zurich; ‘Derek Boshier Documentation and Work’, which toured institutions in Great Britain in 1972; Hayward Gallery, London; Whitechapel Art Gallery, London; the Institute of Contemporary Art, London; Marconi Gallery, Milan; Palace of Culture, Warsaw; Museum of Contemporary Arts, Lodz, Poland; Contemporary Arts Museum, Houston, Texas; and most recently at the National Portrait Gallery, London in 2014. His work is held in notable collections worldwide, including The Collection of Her Majesty The Queen, Windsor Castle, England; The Tate Gallery of British Art, London; The Victoria and Albert Museum, London; National Gallery of Scotland, Edinburgh; New Orleans Museum of Art, Louisiana; The Dallas Museum of Art, Texas; The Menil Collection, Houston, Texas; Yale Centre of British Art, Connecticut; and The Museum of Modern Art, New York.
Boshier is a visiting lecturer at UCLA School of Arts where he teaches drawing.