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
Year of the Dog
28 April – 23 June 2018, Tanya Leighton, Berlin
For Gallery Weekend Berlin 2018 Tanya Leighton is proud to host the European debut of Oliver Laric’s latest video, Betweenness, 2018. The animated video is projected continuously alongside a new group of cast resin sculptures. All titled Hundemensch, 2018, they depict a figure with the head of a dog and the body of a human, protectively holding a smaller dog in its arms.
Guided by a selective and distinctive appropriation of history, art history and popular culture, Laric has long worked to collapse categories and undermine beliefs about authorship and authenticity. In his most recent work, Laric focuses these larger inquiries on the replication and mutation of forms and ideas, as well as the unstable terms that define their meaning and interpretation. His ongoing research into hybridity and transmutation has come to form a central thread in his practice.
Betweenness levels the artist's far-reaching pool of source material, repurposing characters from anime, mushrooms growing in time-lapse, multiplying cells, people morphing into animals and marching soldier ants. Though pulled from a wealth of sources, these clips all highlight moments in time that might otherwise be imperceptible. Rather than being drawn anew in each frame as in traditional animation, Laric’s subjects are digitally plotted by the same stark, vectorized line, which moves continually between sequences. This potentially infinitely shifting line echoes the subject matter of the sequences being displayed on screen, suggesting a limitless number of unique permutations. A soundtrack composed by Ville Haimala of Amnesia Scanner accompanies the animation, weaving itself into the unfolding narrative. The resulting artwork is suggestive of instability, metamorphosis, a liberating flexibility and the power of multiplicity.
The 'Hundemenschen' sculptures are cast in striated layers of pigmented resin. Unlike many of Laric’s recent sculptures that draw from specific art historical examples, the subject matter of these sculptures has been derived by a melding of sources, from prehistoric to contemporary. The artist scoured the long history of anthropomorphic sculpture, using these reference points to contribute his own addition to the genre. This 3D model was then used to cast the sculptures on view. The ‘Hundemenschen' are beguiling figures, with a second layer of symbolism seen just below their polished surfaces – salamanders, crabs and human ears are suspended inside of them.
Oliver Laric (b. 1981, Innsbruck, lives and works in Berlin) has upcoming one-person exhibitions at the St. Louis Art Museum; S.M.A.K., Ghent; and Kunstverein Braunschweig. Past solo exhibitions include: Schinkel Pavillon, Berlin; Secession, Vienna; Austrian Cultural Forum, London; Hirshhorn Museum and Sculpture Garden, Washington, D.C.; and the MIT List Visual Arts Center, Cambridge. His work has been included in group exhibitions at the Whitechapel Gallery, London; Albright-Knox Art Gallery, Buffalo; Fridericianum, Kassel; Palais de Tokyo, Paris; Kunstverein München; and Institute of Contemporary Art, Boston. He participated in the 2016 Liverpool Biennial, and his video Untitled (2014-15) was included in the 2015 New Museum Triennial. His work will be shown in the 2018 São Paulo Bienal.