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
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.