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
Imitation of Lives
3 – 5 November 2017, The Glass House, Connecticut
In Imitation of Lives, Bucharest-based French artist Jimmy Robert occupies Philip Johnson’s Glass House, turning the modernist icon into a stage for an intimate performance that delves into the intersections of architecture, visibility, and black representation. Inspired by Jeff Wall’s essay Dan Graham’s Kammerspiel (1988), Robert draws on the house’s reflective qualities to devise a work for three performers engaged in a subtle game of looking and being looked at in turn.
In previous works, Robert has explored the politics of spectatorship by reworking seminal avant-garde performances in ways that complicate their racial and gendered readings. For this new performance, poetry and music are merged into a “live collage” that includes a new painting by Lucy McKenzie, and references to Harlem Renaissance cabaret singer Jimmie Daniels, who was once romantically involved with Philip Johnson; Samuel Beckett’s Quad (1981); David Hammons’ In the Hood (1993); lyrics by Josephine Baker; and texts by Jayne Cortez, Marguerite Duras, Audre Lorde, and Lorenzo Thomas. Robert’s layered performance turns the Glass House into an arena where exposure, representation, and power can be thought anew.
Imitation of Lives is co-curated by Cole Akers (The Glass House) and Charles Aubin (Performa), and co-commissioned by Performa and The Glass House for Performa 17.
The performance is supported by the Performa Commissioning Fund and FUSED (French U.S. Exchange in Dance), a program of the New England Foundation for the Arts-National Dance Project and the Cultural Services of the French Embassy in New York in collaboration with FACE (French American Cultural Exchange), with lead funding from Doris Duke Charitable Foundation, Florence Gould Foundation, the French Ministry of Culture and Communication, and private donors. Additional support provided by Andy Romer. This project has been selected and supported by the patronage committee for the arts of the FNAGP.
Jimmy Robert (b. 1975, Guadeloupe, France), trained in visual arts at Goldsmiths in London and the Rijksakademie in Amsterdam, currently lives and works in Bucharest, Romania. His oeuvre encompasses performance, photography, film, video, and drawing. Robert has exhibited at WIELS in Brussels, Palais de Tokyo in Paris, and the Dakar Biennial. Recent solo exhibitions include Museum M in Leuven (2015), The Power Plant in Toronto (2013), and MCA Chicago (2012). In 2014, as part of MoMA’s James Lee Byars retrospective, Robert performed The Mile-Long Paper Walk (1965), a performance initially danced by Lucinda Childs.
Performers: NIC Kay, Jimmy Robert, and Quenton Stuckey
Painting: Loos / De Bruycker marble (2017) by Lucy McKenzie
Costume design: Carmen Secareanu (robes) and Regina M. Rizzo (t-shirts)
Voice coach: Emily Kron
Thanks to Felix Burrichter, Ion Dumitrescu, Jason Farago, Davalois Fearon, Mario Gooden, Matthias Mau, Tom McDonough, Ben Pryor, and Mabel O. Wilson.