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 April – 19 June 2016, Secession, Vienna
In his exhibition ‘Photoplastik’, Oliver Laric transforms the main room of Vienna’s Secession into a sculpture hall, gathering artworks and public sculpture from antiquity to the present. Laric’s works, which retool and recontextualize their original referents, are 3D printed from digital files that were captured and further manipulated by the artist. Using a hand-held 3D scanner, Laric visited and recorded numerous objects in public spaces and prestigious institutions in Vienna such as the Kunsthistorisches Museum, the Albertina and the Institute of Classical Archaeology.
The selection of artworks and objects on view is influenced by Laric’s longtime research into the history and development of 3D technology, as well as the question of authorship in the digital age and our present cultural moment, created in large part by the internet where content and information circulate quickly and uncontrollably. These works point to the absurdism of the idea of singularity as an anarchic structure. A central part of the exhibition therefore exists outside of the Secession’s galleries – found on the internet – where Laric has shared the 3D data of the objects on view and many more that were created during the course of work on the exhibition. These files are free to download and without usage restrictions.
The issue of copyright and the public domain is a central concern of Laric’s, who has long negotiated access to public collections and museums as a central element of his practice. Many of the issues tackled by the artist in his work stem from current cultural and scientific discourses – the artist sees digital forms of reproduction and their distribution as a now inherent factor affecting analog formats such as photography, film and sculpture.
The exhibition title refers to Eduard Kuchinkas’ 1926 book ‘The Photo Plastic’. Kuchinkas was a Viennese photo-historian, focusing on photographic sculptures, reliefs and similar procedures of replication. His book begins with François Willème, a pioneer in the field of three dimensional reproduction, working in the 19th century. A version of Willème’s self-portrait – originally created in 1860 – is re-presented by Laric in ‘Photoplastik’.