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
Plant Scenery of the World
29 July – 29 October 2017, Inverleith House, Edinburgh
The Royal Botanic Garden Edinburgh (RBGE) is delighted to present a major new group exhibition at Inverleith House and the Front Range Glasshouses as part of the Edinburgh Art Festival.
Plant Scenery of the World brings together new, commissioned and existing work by Scottish, UK and European artists alongside rare and unseen archival material from the Garden’s own collection and botanical drawings commissioned by RBGE.
Summer 2017 marks the 50th anniversary of RBGE’s modernist Glasshouses, the ‘Front Range’, designed by city architects George Pearce and Allan Pendreigh and opened in 1967. A rare example of Scottish modernist architecture and lauded for its radical design, the Range was commissioned to house plants collected in tropical, temperate, and arid lands by British explorers . Together with RBGE’s Victorian Palm House, these innovative and pioneering glass structures are significant for botanists and aesthetes alike, representing an assimilation of 18th and 19th century Enlightenment values with the utopian ideologies of the mid-twentieth century in the heart of the Garden.
Plant Scenery of the World reflects on these buildings for plants critically examining their past, current and future use from the 18th century to the present day. The exhibition also seeks to explore our enduring fascination with tropical plants and changing attitudes towards collection, exploration, study and display through archival material and new work by contemporary artists.
Through researching plant species and archival material at RBGE, exhibiting artists have directly responded to the site and Collections with new context-specific commissions. Laura Aldridge will exhibit a new nature printed floor using exotic plant material grown in the Edinburgh Glasshouses continuing her longstanding engagement with sculpture as an immersive, sensory driven experience; Charlie Billingham will create an energetic and elegant room installation with new wall prints and painting installations stylistically borrowed from the work of Enlightenment and Regency era social satirists; and Bobby Niven will create a new series of cast and carved sculptures investigating the Garden’s Carpological collection.
Oliver Osborne brings together a selection of emotive and ambivalent rubber plant paintings from 2012 to the present day in a newly commissioned room installation and Ben Rivers presents the first UK screening of his recent film Urth (2016) a dystopian meditation on ambitious experiments, constructed environments, and visions of the future shot in the science research facility Biosphere 2, Arizona.
Items on display from the Garden’s collection include architectural plans and drawings of the Victorian Palm House and Front Ranges from 1892 to 1965 and living plant displays presented in newly commissioned plant pots by Charlie Billingham.
Central to the exhibition is a suite of previously unseen watercolour paintings by the artist-botanist R.K. Greville (1794-1866) from which the exhibition takes its name. Held in the RBGE archives and commissioned c. 1858 to accompany the eponymous but subsequently unpublished monthly periodical, these paintings represent anachronistic depictions of exotic plants in imagined ‘natural’ landscapes, centralising questions of perception, authenticity, and acts of looking still relevant to artists and botanists today.
Considering the Glasshouses as a nexus between culture and nature, dialogical displays of contemporary art and archival material will examine historical narratives dominated by Western exploration; narratives that have shaped (pre)conceptions of ‘the exotic’, (mis)understandings of other places and views on identity and otherness. By investigating plants through human culture, the exhibition demonstrates the way we use plants as symbols, impressing them with our own values and ideological beliefs. It will question human enquiry and the nature of perception, think about captivity, false habitats and inhospitable environments and begin to consider how plants might communicate as well as how artists might speak through plants.
Plant Scenery of the World offers integrated displays, revelatory pairings and a polyphony of voices, to illuminate new perspectives across the disciplines of art and science. The exhibition will evoke the theatrical, awe-inspiring, utopian and naturalistic display of plants under glass. The gallery presentation takes inspiration from the varied climatic zones of the Glasshouses, creating different ‘temperatures’ and offering an interconnected series of ‘micro-climates’ from room to room. Together the exhibition will create an uplifting and celebratory display context which is receptive to different accounts of the world and expanded thinking around historical and contemporary endeavour.
This exhibition is part of the 2017 Edinburgh Art Festival and has received funding from the National Lottery through Creative Scotland.
Laura Aldridge | Charlie Billingham | Bobby Niven | Oliver Osborne | Ben Rivers with botanical paintings by Işık Güner, Jacqui Pestell and Sharon Tingey and artworks by R. K. Greville from the collection of the Royal Botanic Garden Edinburgh.