There's a sidewalk inside this gut
26 October – 20 December 2019, Tanya Leighton, Berlin
Preview: Friday, 25 October 7–9 pm
Tanya Leighton is pleased to present ‘There’s a sidewalk inside this gut’, Gerasimos Floratos’ first solo exhibition in Germany.
Gerasimos used to work the night shift. Around 1:00am, maybe, he started tripping in the shop, and smoking spliffs in the basement, waiting to go out. Sometimes he’d be there making coffee for the customers and would start to feel something magical, to see constellations of building lights swirling around his head like halos; ‘Times Square Mysticism,’ he calls it. This was in Hell’s Kitchen, where he’s lived his whole life and where all of his characters come from. His characters are annoying, obnoxious, contradictory sweethearts. That won’t shut up, that seem kind of mad, all these clowns and maniacs on every corner, everywhere you turn. The old lady shouting at you in the hallway. Your neighbours. All these different sorts of people just trying to live their lives and get through their days. Floratos draws every day. He’s been drawing these grumpy, loudmouth characters ever since he was little boy. He imagines New York City as a great churning digestive tract consuming everything that enters, grinding everything down, turning it into ... crap, energy, inspiration, good feelings, bad feelings. His figures are squished and contorted. Jumbled together like guts; like intestines, constantly rotating, changing direction, packed tighter and tighter inside each other. Now more and more figures are layered on top. He likes to paint over collages of his drawings and works everything up into an overwhelming hallucinatory mess; which is just how it feels like in Midtown sometimes (most of the time). You’re walking down the street and you’re screaming on the inside. “Fuck awffff” shout the drawings in the background. New York’s a collection of mouths and assholes that will never quite shut. The city’s anxiety, temptation, overstimulation, hyperactivity, desire, delight. The city’s full of mouths and chews you right up. There’s a sidewalk inside this gut.
Floratos is painting inside the belly of the beast. He’s built his own little paradise under the sidewalk. Literally under the sidewalk; in the basement of the old Hit Factory on 48th Street where he’s made himself a studio that extends right down under the street. In the evening rush hour when everybody else is leaving work, he hears them clacking and tapping and thumping overhead. Next door there’s a dance studio that’s also a Broadway rehearsal room so he can always hear clapping and singing and dancing around the clock; pure energy coming down through the walls and the ceilings, pushing in from every side. He’s down there painting New York from the inside, crumpled up inside its colon, painting paintings over paintings over drawings and spinning his canvases around and around.
2 November – 20 December 2019, Tanya Leighton, Berlin
Tanya Leighton is pleased to announce a project with Japanese artist Hiroka Yamashita – marking the first time her work has been exhibited in Europe.
Yamashita’s paintings toe a line between figuration and abstraction, and observation and invention. The figures that dot her compositions are often sketched atop bodies of water, or fields of long grass. The interaction between humans and the natural world is a recurring theme, as Yamashita’s subjects reveal the traditions and methods through which society shapes its environment. There are seafaring groups pushing a dingy past a moonlit ridge, others admire cherry blossoms from behind a bright orange fence or dance beneath falling bougainvillea. A fresh catch of netted fish floats above a sorbet coloured ground.
The inventive compositions in which these interplays unfold do not refer to actual space, but rather a layered assemblage of architecture and manicured gardens, interspersed with abstraction. Occasionally, the ostensible subject of a painting is occluded by looming brushwork – giving the sensation of peering through fog or past branches. In other paintings, the ground on which a scene unfolds is little more than a vague coastline or horizon. This tension between density and oblivion calls attention to the ultimately unpredictable relationship between ourselves and our environment.
Art Basel Miami Beach
5 – 8 December 2019
Preview: 3 – 5 December
At Kurfürstenstraße 156
Until 20 December 2019
Christine Roland & Ruby Barber
At Kurfürstenstraße 156
Until 20 December 2019
Il Ritmo dello Spazio, curated by Stavros Katsanevas
Museo della Grafica, Pisa
12 October – 8 December 2019
Genealogías del Arte
Fundación Juan March & Museo Picasso Málaga
11 October 2019 – 12 January 2020
Bauhaus: Utopia in Crisis, curated by Professor Daniel Sturgis, Bauhaus University, Weimar
Opening January 2020
David Diao, 2018
Delmonico books — Prestel
With contributions from Philip Tinari, Michael Corris, Pi Li, Sarah K. Rich, Felicia Chen, Kerry Doran
Phaidon Contemporary Artist Series
Text by Julia Bryan-Wilson, Jeannine Tang, and Lanka Tattersall
MMK Museum für Moderne Kunst, Frankfurt am Main, curated by Susanne Pfeffer with Anna Sailer
17 August 2019 – 16 February 2020
Out Of Order. Positions from the Haubrok Collection (Part I)
Neues Museum Nürnberg
25 October 2019 – 6 January 2020
Travelling Exhibitions Programme of 33rd Bienal de São Paulo
Museo de Antioquia, Medellín, Colombia
21 November 2019 – 26 January 2020
Infinite Sculpture: From the Antique Cast to the 3D Scan
Co-produced by the Calouste Gulbenkian Museum, Lisboa and the École Nationale Supérieure des Beaux-Arts de Paris
3 December 2019 – 16 February 2020
Beethoven – World.Citizen.Music Bundeskunsthalle, Bonn
17 December 2019 – 26 April 2020
...and other such stories
Chicago Architecture Biennial
19 September 2019 – 5 January 2020
Migrating Worlds: the Art of the Moving Image in Britain
Yale Centre for British Art, New Haven, Connecticut, USA
3 October – 29 December 2019
Screening A State of Grace
Exground International Film Festival, Wiesbaden, Germany
15 – 24 November 2019
Screening Slow Glass and The Black Tower
Centre de Cultura Contemporània de Barcelona, Spain
30 January 2020
A Gust of Wind (in the Low and Dark Rooms)
Fondazione Morra Greco, Naples
19 December 2019 – 22 February 2020
Feminist Avant-Garde of the 1970s. Works from the VERBUND COLLECTION, Centre de Cultura Contemporània de Barcelona, Spain
19 July – 1 December 2019
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: Melanie Isabel García
Registrar: Henry Babbage
Finance Manager: Stefan Schuster
Tanya Leighton GmbH
Kurfürstenstraße 156 & 24/25
Open Tuesday – Saturday
11am – 6pm and by appointment
26 November 2015 – 27 February 2016, Tanya Leighton, Berlin
Tanya Leighton is pleased to announce Endless Love, the first solo exhibition at the gallery by American artist Sam Anderson.
Anderson’s multidisciplinary practice focuses on the peripheral, the bit-part actors of life that arrive to bring about plot development and then slink off to the fringe. These figures are studied and organized, but never defined by Anderson, who asks her viewers to regard their personalities as carefully as they would themselves. Arranged into grid-like patterns that call to mind urban planning, public smoking areas, playgrounds, and other spaces that have been imagined and built for human interaction, Anderson’s sculptures are subject to the impulse of an architect they have never met.
Though the filmic is an underlying theme in much of Anderson’s sculptural work, the artist has not, until now, exhibited her videos in three years. Endless Love includes a looping excerpt of a new video of the same title, which follows the artist’s mother to New Zealand, where she was filming a horror movie, and West Virginia, where she had a log cabin built on land inherited from her mother and father. These scenes of ostensible documentary are interrupted by clips from a 1979 Western that Anderson’s mother starred in, as well as stock footage. Throughout the video, Anderson’s mother reads a monologue of musings compiled by the artist, which include conversations with taxi drivers, as well as fragments from the play A Long Day’s Journey Into Night by Eugene O’Neill – chosen almost at random as an example of 20th century writing that confuses familiar emotional colloquialisms with deep meaning. Our over-exposure to canned language, like the dialogue taken from O’Neill’s play, colours the way we are able to synthesize and vocalize emotion, making it increasingly easy to act out pat, scripted replies in moments of pain or existential suffering.
The artist’s mother also appears in the form of a clay sculpture holding a gong, modelled after a portrait drawn when she was in her early thirties. She is joined by taxis, tractors, and the ancillary actors who contextualize her: a farmer, an actress, a musician, a pregnant kiwi bird, a taxi driver, and a stalker.
Much of Endless Love seems to question the idea of objects holding transcendent power. Swept up bits of broken glass, orange peels, paper, and wood lie in the center of roughly cut pieces of sheepskin and leather. They could be unwrapped gifts still sitting in their wrapping or opened greeting cards with a dirty dollar bill inside. Presents as emblems of love or emotionality come under scrutiny - Anderson interrupts the video Endless Love with a short clip made by her partner, who gave it to her as a gift in 2013. Her own gift is also on view: a pair of moulded in-ear monitors, fit specifically to her partner’s ear canals, which are printed with nubile bathing beauties. They play their own insular soundtrack.
Anderson’s interests and themes are as far reaching as they are intimate. Her artworks engage through their familiarity, but reveal far more when they ask us to think how they came to be familiar. Where narratives break and slip, there is space for self questioning, reformatting viewpoints of desire, role-playing, and examination of the material world both man-made and organic. Anderson’s work cultivates a cinematic positioning of the mind that switches in and out of multiple genres of comprehension.