29 June – 24 August 2019, Tanya Leighton, Berlin
Preview: 28 June 2019, 7–9 pm
Tanya Leighton is pleased to present ‘Nel Mezzo’, Sharon Hayes’ third solo exhibition at the gallery and the first presentation in Germany of her on-going video series ‘Ricerche’.
Sharon Hayes investigates the act of public speech and its intersections with history, politics, activism, queer theory, love and sexuality. In performances, videos, and installations, the artist examines these notions with regard to both the collective and the individual voice. ‘Ricerche’ is a project composed of multiple video works that uses Pier Paolo Pasolini’s film ‘Comizi d’amore’ (Love Meetings) as a guidepost for an examination of gender, sexuality and contemporary collective identifications.
In 1963, Pasolini travelled through Italy with a small camera crew on a cinematic inquiry. Interviewing groups of people (neighbours, co-workers, families, students, army buddies and members of a football team) on their views on sex, sexuality and what Pasolini named “inversion” or “perversion”. Pasolini divides this cinematic report into ‘Ricerches’ (Researches). As he moves from beach resorts, to town centres, to fields, universities and factories throughout the country, the work gathers various frictions: between the north and the south, progress and maintenance, young and old, children and parents, urban and rural, etc.
In her work ‘Ricerche’, Sharon Hayes adapts the structure of ‘Comizi d’amore’, following Pasolini’s foundational conceit to interview people outside and in groups. Borrowing from Pasolini’s questions and shot composition, Hayes’ works isolate certain of Pasolini’s scenes and stretch them in volume and duration. ‘Ricerche’ unfolds a contemporary field of non-hetero-normative family structures and non-binary gender identifications, and attempts to account for the complex contemporary conditions that inform collective understandings of gender, sex and sexuality as well as national, religious and ethnic identities.
Ricerche: three, 2013
Single Channel HD Video (Colour, Sound) 38 minutes
Commissioned for the 55th Biennale di Venezia in 2013, this work is an interview with 35 students at Mount Holyoke College in Massachusetts.
An all-women’s college, Mount Holyoke faced decades of declining enrolment from US born women and made a commitment, in the 1960s to heavily recruit international women. In the last decade, Mount Holyoke, as with many of these gender-segregated institutions, faced the increasing necessity to accommodate students who decide (after enrolment) to change their gender from female to male. On this level, and indeed less explicit ones, the population attending Mount Holyoke exists on a much wider gender spectrum than the description “all women’s college“ can hold clear.
In ‘Ricerche: three’ the 35 interviewees gather in one location, discussing gender normativity, religion, marriage, sex and queerness. In the last 12 minutes of the piece, the group erupts into a heated debate about transnational feminisms and the legacies of US imperialisms.
Ricerche: one, 2019
Two Channel HD Video (Colour, Sound) 28 minutes
This video diptych is Hayes’ most recent addition to the series. Structurally, it begins the same way ‘Comizi d’amore’ does, as Hayes gathers groups of children to ask the question: “Where do babies come from?”
Shot over one week in Provincetown, Massachusetts, all of the participants in Hayes’ video are the children of queer or gender nonconforming parents. The work is composed of interviews with two age groups: 5-8 year olds and young adults. Similar to those in Pasolini’s interviews, the young children on screen produce delightfully fragmented answers that mix imagination, fantasy, and words they repeat from things adults have said to them.
The young adults on the opposite screen, are deeply experienced with the narrative of their families and their births, most of them having had to account for their families repeatedly over the two and three decades of their lives. These interviews share detailed perspectives on their complex family histories and their position and role in the quickly evolving political and juridical landscape for queer people, and by extension queer child rearing, in the United States.
Come out!, 2019
Acrylic paint and newspaper on textile
110 x 154,5 cm
43.3 x 60.83 “
Hayes’ most recent work in the exhibition is ‘Come out!’. Facing the wall, this protest banner is hung back to front to inverse its slogan, which bleeds through the fabric. Scraps of a layer of newspaper – presumably used as a drop cloth – are stuck to the paint on what is now the front of the banner. Collected during the week of 15 June 2019, snippets of still recent news items can be made out, creating a fragmented snapshot of our current cultural moment.
'Come Out!' was a magazine published by The Gay Liberation Front. GLF, a multi-issue radical political liberation movement, existed from 1969-1973, coalescing in the aftermath of the Stonewall Uprising. The GLF often used the magazine as a recruitment tool, and something like a megaphone and a protest banner.
Sharon Hayes is one of the most influential politically and socially committed artists working in the United States. She has been the subject of retrospectives at the Whitney Museum of American Art, New York; Museo Nacional Centro de Arte Reina Sofía, Madrid; and currently at Moderna Museet, Stockholm (on view until 11 August 2019). Hayes’ work is part of the public collections of Tate, London; Museum of Modern Art, New York; Solomon R. Guggenheim Museum, New York; Whitney Museum of American Art, New York; Dallas Museum of Art; San Francisco Museum of Modern Art; Kunstmuseum St. Gallen; Museum of Modern Art Warsaw, Warsaw; among many others.
Sharon Hayes lives and works in Philadelphia, where she holds the position of Associate Professor of Fine Arts at the University of Pennsylvania.
26 April 2019
An ongoing curated project with artists, designers, ceramicists and florists
Paris Internationale 2019
17 – 20 October 2019
Preview: 16 October 2019
Throwback Jack, group show curated by Amanda Schmitt, Fredericks & Freiser Gallery, New York, NY
20 June – 26 July 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
Travelling Exhibitions Programme of 33rd Bienal de São Paulo
Campinas, Recife, Medellín (Colômbia)
March 2019–January 2020
Fondazione Morra Greco, Naples
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
Interim 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
13 October – 17 November 2018, Tanya Leighton, Berlin
Tanya Leighton is pleased to announce ‘Kin’, a solo exhibition of new paintings by Chinese-American artist David Diao, whose pioneering approach to painting has pushed the medium into new territory over the past five decades. This is Diao’s second solo exhibition at the gallery and his first since 2009.
We are also delighted to announce the upcoming release of Diao's new monograph published by Prestel. The book accompanies his solo exhibition at the Ullens Centre for Contemporary Art in Beijing in marking the first full-scale retrospective of Diao’s practice. It includes new essays by Philip Tinari, Michael Corris, Pi Li, Sarah K Rich, Felicia Chen and Kerry Doran.
After making important contributions to the movements of colour field painting and geometric abstraction in the late 1960s and 1970s, Diao grew increasingly critical of the medium, reducing his output and reconsidering the ability of painting to communicate meaning. When he again began exhibiting his works in the mid-1980s, they had markedly shifted – taking up major movements and figures in 20th century art as subjects, probing the inspiration they provided to Diao as well as his proximity to them. This conceptual and self-reflexive approach has been a central feature of Diao’s paintings since, growing to include the artist’s personal history. His methodology results in paintings that employ text, iconography, reproductions, charts and diagrams. These elements of visualised information are reclaimed by painting, as Diao employs them to compositional ends as well as communicative. His work slyly operates on two levels: didactic and painterly, occupying both with the resolve that painting can tackle concepts far outside of the medium itself.
The eight paintings featured in ‘Kin’ explore various meanings of the word. The most literal, Maternal Grandfather’s Book 2, 2017, reproduces pages from a treatise on ethics that was written by the artist’s grandfather. Yin Changheng was a powerful man, albeit one of complicated ethics, and Diao’s narrative does not attempt to revise any of this history, only to re-present it. The artist remembers meeting his grandfather as a child, but only learned about his life in depth while visiting his mother in China after 30 years spent outside of the country. Yin Changheng was hailed as a revolutionary hero who played a role in defeating the Qing dynasty and then went on to quell a Tibetan revolution for independence. This imperialist family history is complicated by Diao’s own history, in which he fled mainland China to Hong Kong as a six year old and eventually settled in New York at age 12.
Another painting on view, Seal 2, is emblazoned with the stamped Chinese characters that translate to, "Let a hundred flowers bloom; let a hundred schools of thought contend.” These lines of verse lent their name to a short lived campaign of debate initiated by Mao Zedong in 1956 in which intellectuals, students and everyday citizens of China were encouraged to share their critiques of the communist regime. This moment of critical discourse was short lived as Mao subsequently interned many of those who spoke out in prison labour camps.
Seal 2, along with two other paintings in the exhibition, borrows the sweeping arcs of the Russian artist and designer El Lissitzky’s. Lissitzky famously broke with his Constructivist colleagues over his use of three dimensional space and references to architecture – signaling a world of objects and relationships outside of art for art’s sake. Diao continues this theme by pairing Lissitzky’s curves with emblems and ciphers of those that followed Lissitzky but who preceded Diao, building a century-long narrative arc and associatively coupling formal elements into new compositions. The logo of the famous, modernist furniture manufacturer Herman Miller can be seen in one painting and a birds eye view of Marcel Breuer’s acclaimed UNESCO headquarters in another.
Beyond his personal history, Modernism can equally be seen as kin to Diao. The movement has given his work a foundation and Diao places himself within the artistic lineage begun in the early 20th century. References to his artistic predecessors are abundant in the exhibition, with nearly every painting in the show borrowing a technique, motif or image from the previous century of art and design. Two of Gerrit Rietveld’s iconic chairs appear as deconstructed collages – their component parts depicted at half scale and used to compose abstractions through the chance procedures favoured by Jean Arp.
For all of this complex family history, Diao’s work remains enlivened by its predecessors. These citations are treated as welcome interlopers, not burdensome or dogmatic forebears. And while absolutism played a large role in the art, architecture and politics that Diao looks to for inspiration, his own work celebrates the pluralism, complexity and ever-changing narrative that give meaning to our past and present.
David Diao was born in Chengdu, China. His work has been shown extensively in the US, Europe, and Asia, with recent exhibitions including ShanghART Beijing; Postmasters Gallery, New York; Office Baroque, Brussels and Ullens Center for Contemporary Art, Beijing.