7 September – 19 October 2019, Tanya Leighton, Berlin
Preview: 6 September, 7-9 pm
Tanya Leighton is pleased to present ‘Fabula Rasa’ — a group exhibition that investigates the literary form of the fable from six artistic positions. Recognising the blend of animate and inanimate objects that lays at the core of fables, ‘Fabula Rasa’ focuses on the potential of this interplay to critically reflect the human condition.
The exhibition title is a word play on the concept of the clean slate or ‘tabula rasa’. Life begins without knowledge and lived experience grows our understanding of the world. As much as fables relay shared memories and moral values, they also offer a way to recalibrate ourselves. The works in the exhibition propose perspectives from which to do so.
Sam Anderson’s interest in the dramaturgical narratives of everyday life often leads her to the recast characters that traditionally play set roles. In this case, the tragic-comic figure of the clown, a figure who both entertains and critiques society, is her subject. Both an outsider and an integral part of a community, the classic humorist tells fables of everyday life to question the ways we live together. This ‘clown’, however, is a fabulous and somewhat menacing caricature of itself — a replica dolphin scull, masked with a teardrop, a red nose, and a row of teeth so long it is hard to discern a smile or a grimace.
Antonio Ballester Moreno’s pictographic paintings are distillations of the fundamental ways in which humanity defines itself in relation to the larger world — knowledge, morality and the nature of being. Ballester Moreno’s geometric forms and palette of primary colours speak to an archaic image-memory, exploring what it actually means to be humane. Trees, mountains, moons and suns constitute a universal lexicon while echoing the building blocks of the ancient fable.
The hand-painted animation by Matt Copson introduces archetypal figures from European mythologies into a dystopian limbo. Here, a headless fox circles a maniacally self-obsessed woodpecker whose monologue details a compulsion to define the object of its love. As an allegory for the artist at work or sociopathic manoeuvring, Copson’s parable delivers an unsettling moral about how we relate to the world around us.
Notions of physical malady recur in the work of Jesse Darling. A winding crutch and a bent walking stick emerge like charmed snakes from an altar-like pedestal that floats above the ground. Part of Darling’s larger project, ‘The Ballad of Saint Jerome’, this sculpture retools the eponymous fable to examine the contemporary relationship between healer and healed.
Michael Dean’s sculptures begin in the realm of language – as a means of expressing love, anger, or grasping for understanding. In their translation from text to thing, Dean’s objects and icons become stand-ins for larger narratives. Considering what it means to create a physical extension of oneself, Dean’s concrete and rebar sculptures are human-scaled, bear traces of their making, and introduce new anthropomorphous characters into the exhibition space.
Staring into space through hollow eyes, the vacant, thinking and feeling figure by Austrian artist Heinz Frank is a residue of a body in distress. Part tree, part box, part mask and part spine, its anatomy consists of natural and artificial components that deconstruct the impressive mythical figure of the lion to an assemblage of objects — some quotidian, some bizarre.
17 – 20 October 2019
Preview: 16 October
'Christine Roland & Ruby Barber'
Hiroka Yamashita Kurfürstenstraße 156
Bauhaus: Utopia in Crisis, curated by Professor Daniel Sturgis
Camberwell Space, Camberwell College of Arts (forthcoming)
16 September – 9 November 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 at Galleria d'Arte Moderna, Milan
11 November 2019 – 5 January 2020
Phaidon Contemporary Artist Series
Text by Julia Bryan-Wilson, Jeannine Tang, and Lanka Tattersall
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
Feminist Avant-Garde of the 1970s. Works from the VERBUND COLLECTION, Centre de Cultura Contemporània de Barcelona, Spain
19 July – 1 December 2019
Maskulinitäten Bonner Kunstverein, Kölnischer Kunstverein und Kunstverein für die Rheinlande und Westfalen, Düsseldorf
1 September – 24 November 2019
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: 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
Flag Mountain / Black Tower
12 June – 24 July 2010, Tanya Leighton, Berlin
Tanya Leighton is very pleased to announce the first solo exhibition of East-London artist and filmmaker John Smith in Berlin.
Smith will present two works 'Flag Mountain (Southern Nicosia, looking towards the border with the Turkish Republic of Northern Cyprus)', 2010 (recent recipient of the ARTE prize at the 56th International Short Film Festival Oberhausen), and 'The Black Tower' from 1985-7. Both works in this exhibition, while very different in approach, develop ideas triggered by chance encounters with architecture and landscape. Smith's new work 'Flag Mountain' interprets a panoramic scene viewed from his apartment's balcony during a visit to Nicosia, while 'The Black Tower' creates an enigmatic narrative around an old water tower that could be seen from the window of his house in East London in the 1980s.
'Flag Mountain (Southern Nicosia, looking towards the border with the Turkish Republic of Northern Cyprus)', 2010. HD video installation, seamless loop (7 mins. cycle)
In Nicosia, the divided capital of Cyprus, a display of nationalism is taken to its logical conclusion. Moving between macro and micro perspectives, 'Flag Mountain' sets dramatic spectacle against everyday life as the inhabitants of both sides of the city go about their daily business.
'The Black Tower', 1985-7 23 mins. 16mm film screened as SD video loop (30 mins. cycle)
"In 'The Black Tower' we enter the world of a man haunted by a tower which, he believes, is following him around London. While the character of the central protagonist is indicated only by a narrative voice-over which takes us from unease to breakdown to mysterious death, the images, meticulously controlled and articulated, deliver a series of colour coded puzzles, jokes and puns which pull the viewer into a mind-teasing engagement." - Nik Houghton
"A number of diverse filmic forms - documentary, abstraction, psychodrama and surrealist reverie - are convincingly bound together by the narrator's retelling of his descent into madness. Indeed, in its ability both to contain these various forms, and to create a plausible mimetic world, the film is an eloquent statement on the persuasive power of narrative." - Nicky Hamlyn
John Smith is concurrently showing two other film and video installations in Berlin as part of the Berlin Bienniale.
The popularity of John Smith's film and video work can be explained by his wry sense of humour, his play on language and the elegance of his visual style. Strongly influenced by the Structural Materialist ideas which dominated British artists' filmmaking during his formative years, but also fascinated by the immersive power of narrative and the spoken word, he has developed a body of work which deftly subverts the perceived boundaries between documentary and fiction, representation and abstraction. Drawing upon the raw material of everyday life, Smith's meticulously crafted films rework and transform reality, playfully exploring and exposing the language of cinema.
"One of the most talented filmmakers of the postwar generation, he has attracted admirers from way beyond the narrow confines of the Avant Garde. His reputation rests on a quite unique sensibility which has successfully married three traits - humour, documentary and formal ingenuity - into an indissoluble whole." - Michael O'Pray, Art Monthly
Since the early 1970s John Smith has made over fifty film, video and installation works that have been shown in cinemas and galleries around the world and awarded major prizes at many international film festivals. His solo exhibitions include Royal College of Art Galleries, London (2010), Sala Diaz Gallery, Texas (2010), Ikon Gallery, Birmingham (2006), Kunstmuseum Magdeburg (2005), Open Eye Gallery, Liverpool (2003) and Pearl Gallery, London (2003). He regularly presents his work in person and in recent years it has been profiled through retrospectives at the 2007 Venice Biennale and film festivals in Oberhausen, Cork, Tampere, Uppsala, Bristol, Regensburg, Glasgow and La Rochelle.