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
Choreographed by Omar Kholeif
The V-A-C Foundation, Palazzo Delle Zattere
New artist series
Published by Tanya Leighton, Berlin
Phaidon Contemporary Artist Series
Text by Julia Bryan-Wilson, Jeannine Tang, and Lanka Tattersall
As We May Think: Feedforward
The 6th Guangzhou Triennial 2018
Guangdong Museum of Art
21 December 2018 – 10 March 2019
Oliver Laric: 2000 Cliparts
Contemporary Art Museum St. Louis
18 January – 21 April 2019
The Violence of Gender
curated by Susanne Pfeffer
Tai Kwun Contemporary, Hong Kong
15 February – 28 April 2019
New Media Series — Oliver Laric
presenting Untitled, 2014-15
Saint Louis Art Museum
22 February – 27 May 2019
Halle für Kunst, Lüneburg
International Short Film Biennale
3 April 2019
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
Assistant to the Directors: Martha Glenn
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
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.