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
Let’s Take Back Our Space
11 January – 7 February 2018, Tanya Leighton, Berlin
Tanya Leighton is pleased to present the first solo exhibition in Berlin of Marianne Wex’s pioneering project about male and female body language, Let’s Take Back Our Space: ‘Female’ and ‘Male’ Body Language as a Result of Patriarchal Structures, 1977. The encyclopedic, multi-panel installation was first shown 40 years ago in a group exhibition about women’s art at the neue Gesellschaft für bildende Kunst, Berlin. Widely celebrated at the time of its debut, Wex’s provocative image of all-pervasive everyday patriarchy now seems more acutely relevant than ever.
Originally a painter, inspired by both the figuration of Paula Modersohn-Becker and pop art, Wex’s research into body language led her gradually towards photography. Several years of gathering images in the streets of Hamburg in the mid-1970s produced a collection of more than 5000, which Wex supplemented with images rephotographed from art history catalogues as well as mass media; photojournalism, advertisements, pornography, mail order catalogue clippings, and publicity shots. From this enormous image bank, Wex constructed ‘Let’s Take Back Our Space’, a speculative and polemical history of body language and physiology, extending backwards from the present to ancient Egypt.
Wex’s project takes the form of hundreds of collages, of different widths but uniform height, organised into separate male and female panels and displayed in parallel rows. These are rigorously subdivided according to different postures and poses, revealing how gender stereotypes percolate down to our most intimate everyday gestures. The occasional ‘exceptions’ – figures whose photos float above or below the rows – only serve to emphasise the incredible conformity discovered by Wex, from the street to the boardroom. Again and again, power differentials can be observed simply in the amount of space people feel entitled to occupy – ‘manspreading’ avant la lettre.
Speaking about her work, Wex notes that her endeavor was “based on the assumption that body language is the result of sexoriented, patriarchal socialization, affecting all of our ‘feminine’ and ‘masculine’ role behavior.” Her discovery was that “body language and bodily ideals between sexes have become increasingly divergent.”
The resulting body of photographic collages is unique: they combine the history of street photography and the typologies of the Becher School with conceptual art imperatives, especially in their possibilities for modular recombination. ‘Let’s Take Back Our Space’ might be classified, non-exhaustively, as a feminist broadside, an encyclopedia of gesture, an ethnographic portrait of Hamburg in the 1970s, a genealogical tract on art history, a neglected classic of appropriation art and a kind of autobiography.
The exhibition has been developed in collaboration with Mike Sperlinger, Professor of Theory and Writing at the National Academy of the Arts, Oslo.