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
Travelling Exhibitions Programme of 33rd Bienal de São Paulo
Campinas, Recife, Medellín (Colômbia)
March 2019–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
Road Back To Relevance
15 March – 10 June 2016, NOMAS Foundation, Rome
Nomas Foundation is pleased to present Road Back To Relevance the first institutional solo show by Dan Rees in Italy. The exhibition gives insight into the artist’s practice over the last decade. Through paintings, videos, installations and photography, Road Back To Relevance brings together groups of works that have never been viewed simultaneously and reveals the complex nature of Rees’ research.
Underpinning much of Rees' conceptual body of work is an examination into aspects of Britain’s cultural and social demise since the 1970's. The exhibition reveals issues of taste in relation to class and broad political discourses surrounding the working classes, or more specifically, as described by Antonio Gramsci, the importance of 'organic intellectuals' in creating social change.
The show's title Road Back To Relevance refers to a slide presentation made by the artist in collaboration with an advertising strategist and designer. The work questions how various modes of social engagement can remain relevant today by charting the course of a specific solidarity campaign started in the 1980s, between Wales and Nicaragua. The campaign exemplifies activism before the Internet age; the central question the work poses is how pre 'clicktivist' methods of activism can help shape international solidarity.
The slideshow format is utilised once more in the work, Stimulate Surprise, 2015, which presents an advertising agency’s vision for the relaunch of a 'forgotten food', edible seaweed, and its potential to become the next consumer must-have. Stimulate Surprise is presented in conjunction with an ambitious new work titled, A Misunderstood Weed, 2016, an installation of a domestic scale seaweed farm, grown in IBC tanks. The political dimensions of Rees’ ongoing investigation into edible seaweed stems from the fact that it is considered by many scientists a viable option for helping solve global food shortages and yet remains a largely unexplored resource in the West. Ingrained in Rees’ work is the acknowledgment of the ambivalence of politics towards such suggested alternative possibilities.
The sculptural work, The Artist's Artist's Artist, 2016, a lump of plasticine, spinning on a record player, presents a wry introduction into Rees' painting works on display. Presented for the first time together, Rees' Artex paintings are exhibited along side the photographic documentation of the paintings in their owner's homes. The series of photographs Intended Circulation, 2013 - ongoing, the migration of the Artex pattern through different social signifiers, (from a council flat to collector's walls), completing the conceptual cycle of the work.
With the generous support of: Arts Council of Wales