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
24 February – 14 April 2018, Tanya Leighton, Berlin
Tanya Leighton is pleased to present an exhibition of new works by Berlin based artist Jonas Lipps. This is his first solo show at the gallery.
The subject matter of the nearly 50 drawings and paintings on view is as varied as their materiality. Associative, chimerical scenes that could have been dreamt by adolescent boys are hung alongside abstractions that seem to refer to something concrete – a flag, a certificate or an advertising template.
Institutions of authority recur, particularly schools. In one drawing a boy with a tree growing from his head crawls towards the door of a teachers’ lounge, as if this exclusionary space could hold some small liberation. In another, a teachers’ cruise ship battles a turbulent sea with a clock face floating in it. Another teacher lectures to a classroom awash in waves. The discount furniture store Poco is re-imagined as a school seeking new enrollees, and moreover as the ostensible victor in a battle of good versus evil. Snakes – perhaps the ur-architype of evil – rear their heads often in Lipps’ drawings. The Poco School proudly advertises that the snake is now dead. Come on in!
What do institutions of authority impart on those subjected to them? We all carry around wallets full of ID cards, go shopping and wait in lines, but what else is going on? Control and self-policing are tested and parodied in Lipps’ work, as are the utopic and horrific. The characters in his drawings exist in surreal landscapes dotted with aberrations and hallucinations, archaic symbolism and totally idiosyncratic metaphor. Is it possible that some of these figures are – for lack of a better word – real, while others symbolise the forces that act on them: their second thoughts, fantasies and the social norms they have internalised? These are funny, bizarre and occasionally inscrutable works that make a real commentary on the anxiety of life. Their fantastical imagery and material anachronism serve as clever bits of misdirection. Going out of their way to feel dated or nostalgic, Lipps’ drawings and paintings instead establish themselves as urgently contemporary.