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
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.