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
Travelling Exhibitions Programme of 33rd Bienal de São Paulo
Campinas, Recife, Medellín (Colômbia)
March 2019–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
12 April – 27 July 2014, The Goss-Michael Foundation, Dallas
The Goss-Michael Foundation is pleased to present an exhibition by British-born Dan Rees. The exhibition will open to the public on Saturday, 13 April and continue through Saturday, 27 July, Rees is the first ‘resident’ artist to live for a selected period of time in Dallas and create original work for the Foundation as part of the 2013 Artist in Residency program. Rees plays with the boundaries between what can be considered painting, installation or sculpture and focuses on the process-related aspects of his work. He uses subtle and explicit strategies of appropriation, often with humour to challenge the dominant narrative of art history.
Currently living and working in Berlin, he chooses to work not with the glamorous low art elements of pop art, but rather elements associated with the grim working class of suburbia where he grew up. His work carries nostalgic elements of both intimate and collective memory. By taking his materials from the real world with its popular cultural references and messy, dirty materials, Rees pushes the barriers between high and low art to move away from the hermeticism and elitism of the art world. Rees often uses materials that are not usually used for “fine art,” such as plasticine and artex. Plasticine is a putty-like modeling material used extensively for children’s play, but also as a modeling medium for sculpture. Artex is a material that was used widely in the ‘70s for house decoration to create the familiar textured finish of that period. Imbued with elements of nostalgia and cultural history, both mediums are chosen for the strong references and then used paradoxically as the actual medium for “fine art.”
Dan Rees studied at the Staatliche Hochschule fur Bildende Künste Städelschule, Frankfurt am Main 2007 through 2009 and graduated in 2004 from Camberwell College of Arts in London. Currently living and working in Berlin, he chooses to work not with the glamorous low art elements of pop art, but rather elements associated with the grim working class of suburbia where he grew up. His work carries nostalgic elements of both intimate and collective memory.