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
13 May – 12 July 2015, Ikon Gallery, Birmingham, UK
Ikon presents the most comprehensive UK exhibition to date by Pavel Büchler. Born in Prague in 1952 and based in this country since the 1980s, Büchler is renowned as an influential teacher and figure in the international art scene.
Büchler’s exhibition at Ikon involves a wide range of media including text, found objects, obsolete technologies and appropriated digital material, characteristically combining philosophical scepticism with a smart sense of humour that draws attention to the fundamentally strange nature of everyday life.
Visitors experience a new work by Büchler immediately on arrival at Ikon, Inside Watt (2010), comprising a text extract from Samuel Beckett’s Watt (1953) set in the style of a book page and applied to the front doors. The transition from inside to outside, and vice versa, is made through a veil of text, superimposed on what is visible beyond. Büchler’s intervention on the doors is telling, as they are the means by which visitors move between the public realm and dedicated art space, raising issues of access to art, its role in society and a tendency to exclusivity in our art worlds.
The perpetual outsider status projected onto the main protagonist in The Castle (2005), a key work in this exhibition, corresponds to an anxiety that is often engendered by cultural institutions. Involving a large installation of loudspeakers based on a 1920s design by Marconi, the work proclaims a quotation from Kafka’s The Castle: “You are not from the Castle, you are not from the village, you aren’t anything. Or rather, unfortunately, you are something, a stranger, a man who isn’t wanted and is in everybody’s way …”
Broadcast through the antique sound system, the words recall street propaganda announcements as they insist that integration is impossible, that the stranger will always remain on the outside. On the other hand, Fly (2009), involves an illuminated fire exit sign and the sound of a fly buzzing inside. There is no yearning for admittance, but rather this is an innocent creature desperately trying to get out.
Ikon’s exhibition also features a number of found objects and small sculptures such as Il Castello (2007), consisting of two found pencils, and Cannon (2014), made from a billiard ball and postcard. Most of these are fortuitous combinations, brought together to create “semantic short circuits”,resulting in visual puns that are funny, subtle and subversive. Similarly the artist’s fascination with wordplay is made more explicit in his ongoing series Honest Work (2011–), unique letterpress prints made from old fashioned printing blocks. Quotations from Karl Marx to Edgar Allan Poe, from Barnett Newman to Joseph Kosuth, are sources of inspiration, as well as coincidences found within and between alphabets and numerical systems. These letterpress works constitute a bookend of an extraordinary survey, a kind of variety that conveys rare artistic ingenuity.
The exhibition is accompanied by a publication, including texts by Austrian philosopher Robert Pfaller and Jonathan Watkins, Ikon Director. In addition Pavel Büchler has made a new limited edition, titled "Honest Work (Silence)" (2015), available exclusively at Ikon, it is a letterpress work on Arches 88 paper, 34 × 50 cm, edition of 26, priced £720.
This exhibition is supported by The Henry Moore Foundation.