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
19 March – 20 April 2013, Tanya Leighton, Berlin
Tanya Leighton is pleased to present the second solo exhibition of Welsh artist Dan Rees in Berlin. Rees (b. 1982, Swansea, UK) lives and works in Berlin.
This exhibition draws together Rees’ associations around the theme of solidarity and is directly inspired by two communities; the small Welsh town of Merthyr Tydfil (near Rees' hometown of Swansea) and the Central American country of Nicaragua. Inspired by a Welsh Nicaraguan Solidarity Campaign poster from 1986 encountered in the Merthyr Tydfil Ironworks Museum, Rees became intrigued by this specific demonstration of solidarity. Despite their geographical distance and distinct histories, organisers in Merthyr Tydfil formed the Wales Nicaragua Solidarity Campaign in 1986 in support of the Sandinista Revolution. The campaign continues to work with trade unions, campaigners and community groups against the effects of neo-liberal globalisation in Nicaragua.
Accordingly, Rees extends his on-going interest in Merthyr Tydfil and its legacy of labour organisation, post-industrial poverty and attendant issues of class and solidarity. Rees brings attention to how even during the painful years of deindustrialisation (with the last ironworks closing in 1987) Welsh organisers empathised with the struggles of Sandinista revolutionaries and worked to bring this into dialogue in their local community.
This project began at the beginning of 2013, when Rees visited Nicaragua with his brother-in-law, also a native of the UK. Rees asked his brother-in-law, a technically proficient amateur photographer, to make photographs while they were there for this exhibition. The resultant images, presented large-scale, combine portraits with the landscape of their trip. The collaborative nature of this project displays Rees’ communal engagement with the theme of solidarity.
Tanya Leighton presents these photographs alongside a booklet compiled by Rees. Enclosed within the booklet are the detailed images of pamphlets and posters Rees has photographed in the archive of the National Library in Aberystwyth of the Welsh Nicaraguan Solidarity Movement.