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
19 – 20 January 2019, KW Institute for Contemporary Art, Berlin
Berlin-based artist Jimmy Robert (born in 1975, Guadeloupe, FR) presents Joie noire, a performance that uses KW as a stage to investigate the worlds of disco and death. Robert’s new work starts with an examination of two bodies in the context of the history of clubbing, and asks: What is the nature of a body’s visibility? What is the role of desire? What and who remains when the party is over? And how will the show go on? Considering the nightclub as a space of rhythm and sensuality, as well as assessing its potential to host underground celebration, Joie noire dissects elements of club culture. It blocks out the white light of the gallery to embrace the vernacular of the dancefloor, and by this means opens up a critical meditation on the legacy of the 1980s with specific regard to AIDS, activism, gender and race. Joie noire is produced with support from The Hunterian, University of Glasgow, and Tanya Leighton Gallery, Berlin. Thanks to Susanna Kirschnick and Christine Fenzl at gOlab, and Dominic Paterson.
This performance is the first in a three-part Pause series dedicated to the late Ian White (1971–2013) and comprises work by White’s friends and collaborative associates—Jimmy Robert, Emma Hedditch, and Every Ocean Hughes. An artist, performer, curator, teacher and writer based in London and Berlin, White’s work responded critically to the role of institutional infrastructures in the production of art. His work often raised the question how the limits of these infrastructures could be exposed, tested and disrupted through moments of public performance. The 2019 Pause program will explore how White’s legacy continues to influence contemporary performance and durational collaboration. The 2019 Pause series is part of Reflect-Suspend-Dismantle, a year-long program around the work of Ian White, which takes place at various locations in Berlin, and is delivered in collaboration with curator Kirsty Bell, Arsenal Institute for Film and Video Art, DAAD Artists-in-Berlin Program, and the Estate of Ian White.
Jimmy Robert’s multidisciplinary practice encompasses performance, photography and film. His work often explores the politics of spectatorship, reworking canonical and avant-garde performances and hereby challenging their racial and gendered readings. Recent solo exhibitions include Jeu de Paume, Paris (2012); Museum of Contemporary Art, Chicago, (2012); Power Plant, Toronto, (2013); Museum M, Leuven (2015); La Synagogue De Delme, France (2016); Western Front, Vancouver, and Peer Gallery, London (both in 2017). Robert’s performances have been presented at Tate Britain, London, (2004); MoMA, New York (2014) and Migros Museum, Zurich (2015). Robert’s most recent performance work Imitation of Lives was co-commissioned by Performa17 and the Glass House, and took place in New York in November 2017. Robert lives and works in Berlin.
Curator: Mason Leaver-Yap