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
24 June – 27 August 2017, Yuz Museum, Shanghai
“I’m interested in how an object can become an image of itself, and in how an image can inform an object. We are constantly negotiating our movements through space, and performing towards and around other bodies and objects. I am looking to find moments where the body appears and disappears, when it cannot be certain what is underneath.”
— Math Bass
Yuz Museum is glad to present the Yuz Project Space of Art exhibition of Math Bass “Serpentine Door” from June 24th to August 27th, 2017, the artist’s first solo exhibition in China. Eighteen pieces of her recent paintings and sculptures will be exhibited in the gallery, illustrating a visual space with her unique symbols and colors.
During her artistic exploration, Los Angeles-based artist Math Bass has been building a body of crisp and highly stylized artworks and language system. Painting on raw canvas, she presents an assortment of recognizable objects (fire, smoke, alligators, matchsticks, letters) and simple geometric shapes (circles, zigzags) by using bright even colors and sharpened edges, leaving strong instant impression which continues to resonate visually, and creating moments of perverse tension. The familiarity of these forms is offset by the conflation of themselves and the ambiguity of their relations, impelling us to rethink our perception and relation to things around us.
In this exhibition, Bass not only engages with familiar symbols from the ongoing “Newz!” series, featuring her constant focus on information and communication, but also creates new forms drawn from her experience in Shanghai. While doing a site visit to Yuz Museum last year, Bass took a trip to Yu Garden where she encountered with a series of doorway, which was intended to frame out one’s viewing experience of the Garden. She incorporated the silhouette of the doorway in a diptych titled “Serpentine Door”, showing her strong interest in frames, thresholds, vantage points, and positive and negative space. The four large paintings that are specially made for the glass atrium are also inspired by the idea of multiple vantage points in the museum space, hung back to back as two images sharing across four separate planes, which are endowed with different functions. One side deals with a grid of symbols that act as a ledger to become familiar with the lexicon before entering into the main exhibition space, where as the counter side, aminimal landscape with the binary symbols for A and B, can be read from outside of the museum through the window.
The lexicon of images in Bass’s paintings becomes a theatre of symbols, continually shifting and repeating, which addresses image production and consumption through a language that may suggest the viewers to “read” the paintings.