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
Hreinn Friðfinnsson & Bruce McLean
6 June – 3 August 2014, Grazer Kunstverein, Austria
The Grazer Kunstverein’s ongoing investigation into notions of social abstraction has been slowly shifting towards the often-direct relationships between artists and their surroundings. Both emotional as well as intellectual, these relationships frequently result in abstract translations that still keep ‘the social’ as their core point of interest.
Hreinn Friðfinnsson (b. 1943, IS) and Bruce McLean (b. 1944, GB) are pioneer artists from the same generation who, to this day, have never met. Juxtaposed to each another, these artists explore, each in their own way, their physical presence and relationship towards artistic production and representation.
In the mid-1970s, the Icelandic artist Hreinn Friðfinnsson placed an advert in a Dutch art magazine asking people to send him their secrets. By posing as a collector of secrets, the artist would, he thought, allay suspicions that he had any ulterior motive in using or revealing privileged information that might come his way. The secret, Friðfinnsson may be telling us, is that there isn’t one. His art, on the other hand, is an invitation to imagine that there might be. The artist’s work is known for its lyricism and subtle poetry that transcends the often-commonplace subjects and materials that the artist uses to create his pieces. He often presents found objects with which he interferes as little as possible, creating new works that investigate ideas of ‘the self’ and of ‘time’. Friðfinnsson is a natural storyteller. Most of his works often beg for a narrative, or the fabrication of a story.
On invitation to exhibit at the Tate Gallery in 1972, Bruce McLean decided to organize a one-day retrospective titled ‘King for a Day’, after which he would retire from the art world. Despite a distanced and often cynical approach towards the professionalized art industry, he seems to be more active then ever.
McLean’s early research into notions of sculpture gave him the reputation of ‘master at mockery’, questioning the production and representation of ‘the artist’ as well as ‘the work’ itself. It was with his performative works that he first grabbed the attention of the art world. Full of wit and humour, McLean critiqued the fashion-oriented, social climbing nature of the contemporary art world in the ’70s. At a later stage, the prop and painter-like aspects of some of the early performative works developed into theatre pieces and, most recently, into paintings.
Playing with these notions of ‘presence’ and ‘absence’, the Grazer Kunstverein presents a key selection of works that provoke and enhance the conceptual realm both artists seem to occupy.