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
Draw the Line
22 June – 2 September 2013, The Power Plant, Toronto
The Power Plant is pleased to present a solo exhibition of work by French artist Jimmy Robert. Robert’s practice typically explores the corporeal potential of a range of media including photography, drawing, film, video, sculpture, and performance. In his first Canadian solo exhibition, Robert addresses questions of limits: of his body, of the media he uses, of our understanding of exhibitions, and the various disciplines his work encompasses. At the centre of Draw the Line is a commissioned performance project that takes place within this installation of new and past work at The Power Plant.
Draw the Line’s focus on performance speaks to the rising interest in performance art among art historians, curators and leading museums. Performance has been an integral medium for visual art practices, gaining momentum during the 1960s and 1970s when artists moved away from the object in favour of “happenings,” “actions” and “interventions.” Such terms reject any theatrical meaning to describe a medium that explores the gestures, marks and effects produced by the body moving and performing in space. Over the past decade, performance has achieved a new kind of institutional position, whereby major institutions are increasingly incorporating performance work in their public programming and exhibitions. During this moment of resurgence, artists and curators alike are faced with difficult questions regarding the relationship between a live performance work and its documentation or exhibition. Draw the Line addresses these queries: following Robert’s performance, text and sculptural remnants will remain in the gallery for the duration of the exhibition to evoke the movement seen in his live work.
Robert’s performance coupled with its remaining ephemera will be accompanied by his sculptural installation Reprise (2010). The work references Canadian artist Jeff Wall’s photograph A Sudden Gust of Wind (after Hokusai), 1993, which captures four figures physically responding to a strong wind. The composition in Wall’s work is a recreation of Japanese painter and printmaker Katsushika Hokusai’s (1760 – 1849) woodcut Ejiri in Suruga Province (Sunshū Ejiri), 1830 – 33. The theatricality in the movement of the figures in both works acts as a point of departure for Robert’s Reprise. Here, he captures in large-scale photographs the movements of dancer Shiho Ishihara with gestures akin to those seen in Hokusai’s and Wall’s pieces. Depicting movement in both the dancer’s body as well as in the installation of the photographs, Robert demonstrates the ability for objects to become performative. Together with his live work, Reprise offers new possibilities for movement and performativity to exist outside a live event.
Movement is evoked in every sense of Draw the Line and in the exhibition framework. Above all else, Draw the Line is an attempt to rethink the limitations of an exhibition, challenging viewer expectations as it unfolds and transforms over time.