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
Choreographed by Omar Kholeif
The V-A-C Foundation, Palazzo Delle Zattere
New artist series
Published by Tanya Leighton, Berlin
Phaidon Contemporary Artist Series
Text by Julia Bryan-Wilson, Jeannine Tang, and Lanka Tattersall
Oliver Laric: 2000 Cliparts
Contemporary Art Museum St. Louis
18 January – 21 April 2019
The Violence of Gender
curated by Susanne Pfeffer
Tai Kwun Contemporary, Hong Kong
15 February – 28 April 2019
New Media Series — Oliver Laric
presenting Untitled, 2014-15
Saint Louis Art Museum
22 February – 27 May 2019
Halle für Kunst, Lüneburg
International Short Film Biennale
3 April 2019
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
Assistant to the Directors: Martha Glenn
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
3 November 2017 – 22 April 2018, Jewish Museum, New York
Commissioned for the lobby of the Jewish Museum, an installation by artist Math Bass traces the symbols and ceremonies of her Jewish upbringing.
Math Bass’s work encompasses painting, sculpture, video, and performance. She situates her production in an indeterminate zone where image, object, and language are fluid. In Crowd Rehearsal, a svelte, ladderlike sculpture draped with a coatlike painting is set against two canvases with nearly identical imagery. The title and forms suggest but do not show human bodies and actions. Does the title invite the viewer to take part in a performance? Or does it imply that this is only a run-through for something yet to come? Bass has opened up authorship to create a shared experience between artist and audience.
Bass grew up in a Jewish home, regularly attending temple, where ceremonies, rituals, and text influenced her predilection for the shrouding, pictographs, and repetition that infuse Crowd Rehearsal. Cloaked forms and empty spaces punctuate these works, imbuing them with a sense of contingency or incompleteness. This resistance to fixity is in tension with her hard-edged, graphic style.
The two paintings are part of a series begun in 2012. Each shares a title whose letters—N, E, W, and Z—can be rotated to form Z, W, M, and N. These small shifts turn a comprehensible word into a collection of random letters and highlight the instability and mutability of meaning.
Math Bass was born in New York in 1981 and lives and works in Los Angeles.