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
I Was Raised on the Internet
23 June – 14 October 2018, Museum of Contemporary Art, Chicago
I Was Raised on the Internet focuses on how the internet has changed the way we experience the world. Due to new types of gaming and entertainment and the rise of social media and alternative modes of representation, the everyday is no longer what it used to be. The ways we interact with each other have shifted through the connected nature of telecommunications devices across the internet, including mobile applications, social media platforms, and large search engines that have become everyday tools for individuals from all walks of life. New modes, not only of seeing but also of feeling, have emerged in response to this.
I Was Raised on the Internet documents a specific moment in time, beginning with 1998 and extending to the present, and focuses on the shifts that have occurred since the millennium. The nearly 100 works in the exhibition span photography, painting, sculpture, film, and video, as well as emerging technologies and interactive elements, which include interactive computer works and virtual reality. Among these are new adaptations of major bodies of work, as well as new commissions from some of the most significant artists working with these ideas today.
The exhibition seeks to put into language the idea of the “millennial’”—in the truest sense of the word—extrapolating the terms used by artists and creative practitioners in relation to the internet, including the so-called post-internet phenomenon. Fittingly, the viewer is an active agent, engaging new forms of networked behavior and participating both in the gallery space and beyond, through additional digital works hosted online. I Was Raised on the Internet plays with the dystopic connotations of our online multiverse but also is a direct reaction to the utopic beginnings of the world of computing.
The exhibition comprises five sections, each describing a different mode of interaction between the viewer and the art object: Look at Me considers new, more fluid forms of identity that have flourished in a world where social media has led to a performance of the self and a networking with others. Touch Me traces the limits of translating information and digital images into real space. This chapter focuses on art’s fluid boundaries between two- and three-dimensions, and addresses the ways individuals are increasingly seeing touch and sensuality as entirely new constructs in the world of the internet. Control Me addresses the pervasive culture of surveillance and data collection that network technology enables. How do we create a visual vocabulary for state control, and what future can this vocabulary enable for us as citizens? Play with Me documents the ways in which art grapples with the move toward immersive and interactive technologies developing today, in which the visitor is not merely a passive viewer but an active agent in the work. Finally, Sell Me Out focuses on corporate culture and consumerism. Artists take up ideas from marketing, such as brand identity, with a critical eye to expose, critique, and participate in our late capitalist landscape, and to imagine new futures for the labor of buying and selling. Additionally, viewers can access each section’s online works through an exhibition website.
The exhibition was organized by former Manilow Senior Curator and Director of Global Initiatives Omar Kholeif. It was presented in the Griffin Galleries of Contemporary Art and the Turner Gallery on the museum's fourth floor.