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
Drawn in Cursive
5 July – 29 September 2013, Chapter Arts Centre, Cardiff, Wales
Sean Edwards’ work investigates the sculptural potential of the everyday, often using remnants of previous activities as a starting point to form an archive of some 600 objects, clippings, drawings and other found or made materials.In many of the works there is a sense of objects being in-progress, indeterminate and open to change; the audience is invited to play a part in their creation. The completion is only ever realised in the exhibition environment to undermine the perception of the gallery as a space for fully achieved artworks.Edwards describes this aspect of his practice as ‘artistic intuition’. Objects are gathered and collected intuitively but are all strongly connected. This exhibition will see him working more closely with the collection, to build up the archive and to create an expanding dialogue around it.
Beginning at Chapter, the exhibition will be shown in a further two venues, during which time it will evolve, shift and change in dialogue with the architecture, history and location of each space: Chapter as a former school; Netwerk, Arles as a former textile factory and Mostyn as a purpose-built picture gallery.
Sean Edwards was born in Cardiff and lives in Abergavenny. He gained his BA Fine Art at University of Wales Institute (2003) and his MA Fine Art at Slade (2005). Recent and forthcoming solo shows include Kunstverein Freiburg, Freiburg, Tanya Leighton Gallery, Berlin (2012); Spike Island, Bristol (2011). Recent and forthcoming international group shows include Zabludowicz Collection (2011); Galeria Marz, Lisbon and Wallspace Gallery, New York (both 2010); Lisson Gallery, London (2009); The Approach, London; Frank Elbaz and Art: Concept, both Paris; Centre, Berlin (all 2008); and Tanya Bonakdar, New York (2007).
He is represented by Limoncello, London limoncellogallery.co.uk and Tanya Leighton, Berlin tanyaleighton.com
Image caption: Sean Edwards, Untitled, 2013, framed archival giclee print. Courtesy the Artist, Tanya Leighton Gallery, Berlin and Limoncello, London.