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
14 September – 11 November 2012, Kunstverein Freiburg, Germany
Kunstverein Freiburg is pleased to announce its autumn season with two parallel exhibitions with works by the artists Sean Edwards (1980 in Cardiff, Wales, UK) and John Divola (1949 in Los Angeles, US). The ground floor entrance hall shows an extensive site-specific installation by Sean Edwards. It is the first institutional exhibition outside of the UK for the artist who lives in Abergavenny, Wales. On the surrounding first-floor gallery, a selection from two series of photographs by John Divola is being shown. These works of the established American photographer are being displayed in Germany for the first time.
The installations of Sean Edwards often have a sculptural appearance of craftsmanship in their material emphasis, creating a dynamic coexistence of neutral spaces and art spaces, of immediate awareness and fleeting references of personal memory as well as pop-cultural images. Invariably assuming the experience of a work of art in the present, his work emphasizes their encompassment of other times and places. For Freiburg, the artist has created ‘Resting Through’, a chest-high shelf structure consisting of regular elements, which is open on both sides. Built from untreated plywood with a rough surface, it spans through the whole 32 metres long axis of the ground floor exhibition space as a closing barrier as well as a functional element.
Typical for Edwards is his use of the sculptural intervention as a medium to direct the viewer in the space, as if leading through an unfolding narration. The shelf structure divides the main hall of the Kunstverein radically in two halves and forces visitors to walk alongside it: from one half of the space over the stairs to the first floor and back down the stairs on the other side and into the other half of the whole hall. It also serves as a rack for small, handworked sculptural objects, throwaway found objects and cuttings from books and newspapers. The shelf structure appears as a gigantic sill or grandiose plinth for the objects placed upon it, claiming to be a work in its own right. The separation of the space becomes an emblem for the ability of any object or artifact to polarize meaning and interpretation. On the one hand this is a work of art, on the other hand it is also a piece of furniture.