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
22 June – 26 August 2017, PEER, London
Jimmy Robert’s restrained yet expanded use of photography, movement, text and subtle architectural intervention discreetly interrogates ideas of inclusion and exclusion, belonging and identity, intimacy and distance. For PEER, Robert presents a new performance work and gallery installation in response to issues that have emerged from Britain’s vote to leave the European Union. Robert’s new commission, European Portraits, is timed to mark the first anniversary of the Brexit vote, and obliquely probes some of the complexities and consequences of this result – both personal and political – that have emerged in the past year.
Robert’s project begins with three consecutive evenings of performance in the gallery space, the focal point of which is the substantial doorway and entry/exit point that conjoins the two rooms. Both vertical sides of the opening have been clad in mirrors creating a mise-en-abyme – or literally, ‘to place into abyss’. The audience is split between the two spaces, enabling a multiplicity of viewing angles and positions. Robert moves within and through this constricted space of both transience and infinity while handling the drapes and folds of a large-scale fabric-printed image from a 16th century Bronzino portrait. Both divided groups view the performance from different perspectives – not visible to one another yet witnessing the same event. On the walls of the two galleries are a series of short text works, written by the artist over a number of years as intimate portraits of eight individuals.
These elements are brought together with a sound work, composed by artist Ain Bailey, with whom Robert has previously collaborated. Her composition will be structured around voice recordings of the wall texts, but focusing on the moments of breathing between the words, ‘giving materiality to absence’. This recorded element will be layered by Robert’s ‘live’ breathing, as a kind of call-and-response arrangement often used in the French West-Indian tradition of dancer and drummer in dialogue, and culminating in just the artist’s breath manifest in the space. Following the performances, the audio and visual elements of European Portraits will be presented as a gallery installation, while a film of the live event is available to view on PEER’s website from early July.
This exhibition is a product of Robert’s multidisciplinary practice that combines a range of lens-based media with other elements such as drawing, choreography and text. Robert breaks down divisions between two and three dimensions, as well as image and object through the manipulation of material. Robert will also show a work that has evolved from found photographs that have been torn, collaged and then scanned before presented as a work that oscillates between image and object.
Key to this specific presentation at PEER is Robert’s interest in exploring the potential to present public-facing projects via the large glass façade onto the high street. The economic, social and cultural diversity of the local area is in many ways representative of the kind of society that Brexit is determined to eliminate. And it is with those incidental passers-by, as well as with gallery visitors, that Robert’s project aims to communicate.