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
Nudge the Judge
5 September – 10 October 2015, Tanya Leighton, Berlin
Nudge the Judge is Jamian Juliano-Villani’s first solo exhibition in Europe. On view are eight new paintings that pluck influence from fetish culture, exhibitionism, curiosities of nature, and her ever-growing register of imagery pulled from popular culture.
Juliano-Villani’s canvases pack such a volume of imagery and reference that they betray their pop-y superficiality almost immediately. A glance at one painting can reveal quotations as far reaching as Mondrian, Caulfield, and George Ault, to the legendary illustrators such as Ralph Bakshi and Mort Drucker. Made to act in new roles, Juliano-Villani’s characters are deployed by the artist as totems of class politics, misogyny, racism, consumerism and self-doubt.
Nudge the Judge assembles a cast who seem to catch us as voyeurs, while at the same time acknowledging and welcoming their viewers’ gazes. A blow-up doll plays the piano in The Entertainer. A topiary fondles himself in one work, a half-dolphin in garters and an apron looks becomingly back at us in another. For as much a Juliano-Villani exploits quotation and collage, these paintings hold a psychology that is entirely their own.
Jamian Juliano-Villani lives and works in Brooklyn. Her work has been exhibited widely over the past three years including exhibitions at JTT, New York; Gavin Brown’s Enterprise, New York; SculptureCenter, New York; Night Gallery, Los Angeles; and MOSTYN, Wales. Her first institutional show was held at the Museum of Contemporary Art, Detroit this January, curated by Jens Hoffmann. Juliano-Villani is preparing a solo exhibition at Studio Voltaire, London in 2016, which will be accompanied by a catalogue. Her work will be featured in the upcoming exhibitions Unorthodox at the Jewish Museum, New York, and Greater New York at MoMA PS1, New York. An artist’s monograph will be published by KARMA, New York this December.