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
22 January – 10 April 2011, Spike Island, Bristol, UK
Spike Island presents a new exhibition by emerging Welsh artist Sean Edwards, his first major solo show in a public gallery. Edwards is interested in the poetics of failure, regret and disappointment, and his practice investigates such matters through the materiality of everyday objects. With Maelfa he extends his focus to an entire building and lived system, focusing on its disappearing communities and faded utopian aspirations.
Built around a block of high-rise flats on a council estate in 1973, the Maelfa (from the Welsh word for ‘market’) Shopping Centre in the Cardiff suburb of Llanedeyrn was intended to provide a thriving focal point for the community. A classic municipal build of its period, the centre’s potential as a new, localised system of living was compromised by institutionalised costcutting that undermined the original modernist architectural principles of flow, space and light. Mean proportions, poor construction and an air of desolation led to Maelfa’s steady decline over subsequent decades. Edwards undertook a residency in the centre in 2009 ahead of its scheduled demolition, making photographic and filmed studies of the building and interacting with the people who use it. The resulting work is contemplative and reflective, nostalgic rather than critical: Edwards grew up in Llanedeyrn, using the centre and its library on an almost daily basis, and his father still lives in the neighbouring tower block.
The centrepiece of the exhibition is a slow-paced, high-definition video, also entitled Maelfa, in which the camera glides smoothly and silently through the building’s interior surfaces, creating a dream-like portrait of the space. No exterior shots are ever shown, but with one sweeping movement the camera pans across glass and corridors for 22 minutes, a style familiar to us from haunted house movies and science fiction films and as first seen in Max Ophuls’s works from the late 1940s. In directing the camera towards the glass windows, the artist creates an extreme close-up which allows the viewer to witness three planes simultaneously: the focus slowly shifts between the shopfront’s display and the shelved objects deeper within the store, all the while allowing moments of activity in the shopping centre to reflect into view.
The video is accompanied by an installation of photographs, prints, 16mm films and a large hanging sculpture. These elements will be shown alongside documentary ephemera relating to the project which includes architectural plans of the Maelfa centre pinned up in a speciallydesigned reading area. Taken as a whole, Maelfa can be read as an anthropological investigation of both a specific place and of the broader project of state-sponsored modernism.