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
2 December 2017 – 28 January 2018, Schinkel Pavillon, Berlin
Panoramafreiheit, opening at Schinkel Pavillon on December 1st, is the first institutional solo exhibition of the Austrian-born artist Oliver Laric in Berlin. In his work Laric effortlessly converts qualities of the digital such as reproduction, limitless variability and instant distribution into the physical realm. Systematically, he investigates the topic of representation and its various forms of appearance: repetition, forgery, appropriation and copying. In such reconnections he naturally dissolves the antagonism between digital and analogue art.
The starting point for his exhibition at Schinkel Pavillon was Beethoven, based on the original sculpture by Max Klinger from 1902. Composed of seventeen separate 3-D printed components, it is the largest and most complex object Laric has created to date. Outstanding from a technological perspective, the original 3D-model does not originate from a 3D-scan, but has been manually created using photographic images. This approach marks a new chapter in Laric’s body of work. His effort to make visual art, which is normally locked in the museum space, accessible to an increasingly digital society regardless of social, geographical or cultural boundaries naturally represents challenges for public institutions. In this regard such organizations are confronted with the complex legal ambiguities of copyright and rights of use. The exhibition title Panoramafreiheit describes the legal right to photograph and publish everything present in public space. Besides the three physical sculptures Beethoven, Hermanubis and Pan with Bears in the octagon of Schinkel Pavillon their data is available and free for download on the website threedscans.com representing an integral part of the exhibition. With this gesture Laric raises questions about the concepts of authorship and originality and the relationship between technology and creativity. Panoramafreiheit enters a highly important debate, which will surely remain considerably relevant in the future.
Oliver Laric (*1981) lives and works in Berlin. He studied at the Universität für Angewandte Kunst in Vienna. Amongst others his work has been shown in solo exhibitions at the Secession, Wien, 2016; Museum of Contemporary Art, Cleveland, 2016; Center for Contemporary Art, Tel Aviv, 2015; Austrian Cultural Forum, London, 2015; Hirshhorn Museum and Sculpture Garden, Washington, 2014; MIT List Visual Arts Center, Cambridge, 2013.
Curated by Marie-Eve Lafontaine.