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
As We May Think: Feedforward
The 6th Guangzhou Triennial 2018
Guangdong Museum of Art
21 December 2018 – 10 March 2019
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
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.