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
'Christine Roland & Ruby Barber'
Hiroka Yamashita Kurfürstenstraße 156
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
3 November 2017 – 18 February 2018, Fondazione Sandretto Re Rebaudengo, Turin
Fondazione Sandretto Re Rebaudengo presents Letdown, a solo exhibition of Sanya Kantarovsky which will include existing and new works produced specifically for the occasion.
Kantarovsky, who was born in Moscow in 1982 and emigrated to the United States as child, has often used his work to measure his experience living under communism in the waining years of the Soviet Union against his experiences in the Western world. Using architecture as a both a metaphor and a framing device, the exhibition at Fondazione Sandretto Re Rebaudengo renders these two aesthetic and political polarities in high relief, setting a stage for a new body of paintings which transmit a range of unsavory and brutal experiences.
There are tens of thousands of the same building in Russia, each containing eighty apartments. They were designed by consensus – a committee of architects determined a standard of living and trimmed it down to its most essential pillars. These structures were referred to as K-7s or Khruchevki, after Nikita Khrushchev, who hastily commissioned them in response to a severe housing shortage. Built cheaply and quickly throughout Russia from pre-fabricated panels of cast concrete, they thrust their occupants, both physically and mentally, into an endlessly replicable, uniform space.
Kantarovsky’s exhibition unfolds in front of a painted image of a half demolished Khrushchyovka. Filling the Foundation’s austere minimalist space – designed by architect Claudio Silvestrin – the mural inadvertently measures a high form of contemporary architecture against the economy and violence of Soviet public housing. Kantarovsky’s paintings hang atop the housing block, their rectilinear frames echoing the building’s tiled slab façade.These paintings are themselves a geometric frame for brutality– full of painful, doubt-ridden and feeble experiences, bodies contorted in submission. Each is its own prefabricated arena for pushing, pulling, abrading, rinsing and erasing.
The presence of the Khrushchyovka, along with the steel playground turtles – cherepashki – that often accompanied them, gives the impression that these paintings could be windows into a claustrophobic home or tears in a social fabric. Are the figures within tenants of the building? A mother’s child, leaden and flush with rosacea, causes her to stoop to the point of falling as he reaches for the last drops of her milk. Her frame buckles; her scraped knees indicating that it isn’t the first time. This painting shares its title, “Letdown”, with the exhibition as a whole. At odds with itself, like many of its counterparts, ‘letdown’ refers to oppositional emotions: a letdown being both a disappointment and a release of breast milk in a nursing mother. This paradoxical simultaneity of dismay and fulfillment assembles as the central theme of the exhibition.