7 September – 19 October 2019, Tanya Leighton, Berlin
Preview: 6 September, 7-9 pm
Tanya Leighton is pleased to present ‘Fabula Rasa’ — a group exhibition that investigates the literary form of the fable from six artistic positions. Recognising the blend of animate and inanimate objects that lays at the core of fables, ‘Fabula Rasa’ focuses on the potential of this interplay to critically reflect the human condition.
The exhibition title is a word play on the concept of the clean slate or ‘tabula rasa’. Life begins without knowledge and lived experience grows our understanding of the world. As much as fables relay shared memories and moral values, they also offer a way to recalibrate ourselves. The works in the exhibition propose perspectives from which to do so.
Sam Anderson’s interest in the dramaturgical narratives of everyday life often leads her to the recast characters that traditionally play set roles. In this case, the tragic-comic figure of the clown, a figure who both entertains and critiques society, is her subject. Both an outsider and an integral part of a community, the classic humorist tells fables of everyday life to question the ways we live together. This ‘clown’, however, is a fabulous and somewhat menacing caricature of itself — a replica dolphin scull, masked with a teardrop, a red nose, and a row of teeth so long it is hard to discern a smile or a grimace.
Antonio Ballester Moreno’s pictographic paintings are distillations of the fundamental ways in which humanity defines itself in relation to the larger world — knowledge, morality and the nature of being. Ballester Moreno’s geometric forms and palette of primary colours speak to an archaic image-memory, exploring what it actually means to be humane. Trees, mountains, moons and suns constitute a universal lexicon while echoing the building blocks of the ancient fable.
The hand-painted animation by Matt Copson introduces archetypal figures from European mythologies into a dystopian limbo. Here, a headless fox circles a maniacally self-obsessed woodpecker whose monologue details a compulsion to define the object of its love. As an allegory for the artist at work or sociopathic manoeuvring, Copson’s parable delivers an unsettling moral about how we relate to the world around us.
Notions of physical malady recur in the work of Jesse Darling. A winding crutch and a bent walking stick emerge like charmed snakes from an altar-like pedestal that floats above the ground. Part of Darling’s larger project, ‘The Ballad of Saint Jerome’, this sculpture retools the eponymous fable to examine the contemporary relationship between healer and healed.
Michael Dean’s sculptures begin in the realm of language – as a means of expressing love, anger, or grasping for understanding. In their translation from text to thing, Dean’s objects and icons become stand-ins for larger narratives. Considering what it means to create a physical extension of oneself, Dean’s concrete and rebar sculptures are human-scaled, bear traces of their making, and introduce new anthropomorphous characters into the exhibition space.
Staring into space through hollow eyes, the vacant, thinking and feeling figure by Austrian artist Heinz Frank is a residue of a body in distress. Part tree, part box, part mask and part spine, its anatomy consists of natural and artificial components that deconstruct the impressive mythical figure of the lion to an assemblage of objects — some quotidian, some bizarre.
17 – 20 October 2019
Preview: 16 October
Hiroka Yamashita Kurfürstenstraße 156
Christine Roland & Ruby Barber
Gerasimos Floratos Kurfürstenstraße 24/25 Preview: Friday 25 October 2019, 7-9pm
Bauhaus: Utopia in Crisis, curated by Professor Daniel Sturgis
Camberwell Space, Camberwell College of Arts (forthcoming)
16 September – 9 November 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 at Galleria d'Arte Moderna, Milan
11 November 2019 – 5 January 2020
Phaidon Contemporary Artist Series
Text by Julia Bryan-Wilson, Jeannine Tang, and Lanka Tattersall
Beethoven – World.Citizen.Music Bundeskunsthalle, Bonn
17 December 2019 – 26 April 2020
...and other such stories
Chicago Architecture Biennial
19 September 2019 – 5 January 2020
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
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
Labour in Vain
28 May – 8 August 2010, DOX Centre for Contemporary Art, Prague
For the first time ever in the Czech Republic, the DOX Centre for Contemporary Art in Prague-Holešovice, hosts a comprehensive exhibition of the work by Pavel Büchler whose long years of artistic practice and teaching in the UK have been recently rewarded by Northern Art Prize, the second most prestigious art award in the UK.
The exhibition is dominated by a number of key works, inspired directly or indirectly by the legacy of Franz Kafka. Two of these works make up the conceptual axis of the exhibition.
The Castle (2005-2009) from the collection of Van Abbemuseum, Eindhoven, is based on Kafka’s novel in which the author describes a non-classifiable character of a stranger and the problem of his presence in a claustrophobic environment of a village under a castle. Kafka’s text is read by synthetic voices created by digital technology (the so-called TTS) using almost 100 megaphones patented by Marconi in 1926, which is, incidentally, the year when Kafka’s novel was published for the first time. Since 2005, this work has been realized in a number of versions and exhibited at the 9th Biennale in Istanbul, the Gallery of Contemporary Art in Athens, Kunsthalle Bern, Van Abbemuseum in Eindhoven, the Museum of Contemporary Art in Antwerp and ShangArt Gallery in Shanghai, always in a different form corresponding to the historical or present function of the place or the exhibition space. The Prague installation is the largest so far and it has a new voice recording, partially in Czech.
The List / Previous Correspondence (2001-2009) is a long series consisting of 726 framed letters by which the author, from 2001 to 2009, responded to unsolicited advertising mail. In the first phase of the project, the senders learned that their names had been added to a list (“your name has been added to the list”). Their signatures, reproduced under the text, gradually accumulated into something that resembled an abstract painting. In the second phase, exhibited in 2003, the process was reversed and the senders were, one by one, removed from the list (“your name has been removed from the list”). Letters with this notice were sent to all original senders after the end of the exhibition. In 2003-2006 this project was expanded by the same number (242) of new senders-addressees, with all of them quoted in name in the text of the artist’s response and these letters were sent shortly before the opening of the exhibition in October 2006. In the third and the last phase, created specially for the DOX exhibition, the artists will, once again, respond to advertising mail received recently. This time, his responses will admit the aesthetic dimension of the correspondence.
A number of other works prepared for the exhibition is also inspired by Kafka, including a vast collage of Kafka’s quotations taken from the Czech translation of the essay by Gilles Deleuze and Félix Guattari, installed in one of DOX’s windows. Other works will use different means to refer to the works and personalities of modern art, literature, critique, politics, philosophy and the whole selection of works will be unified by the artist’s interest in misreading as a way to reveal accident or non-intentional poetics in familiar cultural material. The exhibition will include a series of photographic “portraits” from the late 1980s by which Büchler entered the British scene.
The exhibition is accompanied by a catalogue with many pictures and texts by Pavel Büchler, the exhibition’s curator Jaroslav Anděl and the following authors: J. J. Charlesworth, Charles Esche, Douglas Gordon, Richard Gott, Christa-Maria Lerm Hayes, Mihnea Mircan, Hester Reeve and Patrick van Rossem.