7 September – 19 October 2019, Tanya Leighton, Berlin
Preview: 6 September, 7-9 pm
Tanya Leighton is pleased to present ‘Fabula Rasa’ — a group exhibition that investigates the literary form of the fable from six artistic positions. Recognising the blend of animate and inanimate objects that lays at the core of fables, ‘Fabula Rasa’ focuses on the potential of this interplay to critically reflect the human condition.
The exhibition title is a word play on the concept of the clean slate or ‘tabula rasa’. Life begins without knowledge and lived experience grows our understanding of the world. As much as fables relay shared memories and moral values, they also offer a way to recalibrate ourselves. The works in the exhibition propose perspectives from which to do so.
Sam Anderson’s interest in the dramaturgical narratives of everyday life often leads her to the recast characters that traditionally play set roles. In this case, the tragic-comic figure of the clown, a figure who both entertains and critiques society, is her subject. Both an outsider and an integral part of a community, the classic humorist tells fables of everyday life to question the ways we live together. This ‘clown’, however, is a fabulous and somewhat menacing caricature of itself — a replica dolphin scull, masked with a teardrop, a red nose, and a row of teeth so long it is hard to discern a smile or a grimace.
Antonio Ballester Moreno’s pictographic paintings are distillations of the fundamental ways in which humanity defines itself in relation to the larger world — knowledge, morality and the nature of being. Ballester Moreno’s geometric forms and palette of primary colours speak to an archaic image-memory, exploring what it actually means to be humane. Trees, mountains, moons and suns constitute a universal lexicon while echoing the building blocks of the ancient fable.
The hand-painted animation by Matt Copson introduces archetypal figures from European mythologies into a dystopian limbo. Here, a headless fox circles a maniacally self-obsessed woodpecker whose monologue details a compulsion to define the object of its love. As an allegory for the artist at work or sociopathic manoeuvring, Copson’s parable delivers an unsettling moral about how we relate to the world around us.
Notions of physical malady recur in the work of Jesse Darling. A winding crutch and a bent walking stick emerge like charmed snakes from an altar-like pedestal that floats above the ground. Part of Darling’s larger project, ‘The Ballad of Saint Jerome’, this sculpture retools the eponymous fable to examine the contemporary relationship between healer and healed.
Michael Dean’s sculptures begin in the realm of language – as a means of expressing love, anger, or grasping for understanding. In their translation from text to thing, Dean’s objects and icons become stand-ins for larger narratives. Considering what it means to create a physical extension of oneself, Dean’s concrete and rebar sculptures are human-scaled, bear traces of their making, and introduce new anthropomorphous characters into the exhibition space.
Staring into space through hollow eyes, the vacant, thinking and feeling figure by Austrian artist Heinz Frank is a residue of a body in distress. Part tree, part box, part mask and part spine, its anatomy consists of natural and artificial components that deconstruct the impressive mythical figure of the lion to an assemblage of objects — some quotidian, some bizarre.
17 – 20 October 2019
Preview: 16 October
'Christine Roland & Ruby Barber'
Hiroka Yamashita Kurfürstenstraße 156
Bauhaus: Utopia in Crisis, curated by Professor Daniel Sturgis
Camberwell Space, Camberwell College of Arts (forthcoming)
16 September – 9 November 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 at Galleria d'Arte Moderna, Milan
11 November 2019 – 5 January 2020
Phaidon Contemporary Artist Series
Text by Julia Bryan-Wilson, Jeannine Tang, and Lanka Tattersall
Beethoven – World.Citizen.Music Bundeskunsthalle, Bonn
17 December 2019 – 26 April 2020
...and other such stories
Chicago Architecture Biennial
19 September 2019 – 5 January 2020
Feminist Avant-Garde of the 1970s. Works from the VERBUND COLLECTION, Centre de Cultura Contemporània de Barcelona, Spain
19 July – 1 December 2019
Maskulinitäten Bonner Kunstverein, Kölnischer Kunstverein und Kunstverein für die Rheinlande und Westfalen, Düsseldorf
1 September – 24 November 2019
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: Melanie Isabel García
Registrar: Henry Babbage
Finance Manager: Stefan Schuster
Tanya Leighton GmbH
Kurfürstenstraße 156 & 24/25
Open Tuesday – Saturday
11am – 6pm and by appointment
26 November 2015 – 27 February 2016, Tanya Leighton, Berlin
Tanya Leighton is pleased to announce an exhibition of new and recent works by legendary artist-filmmaker John Smith, his fourth solo exhibition at the gallery. In SIGN LANGUAGE, Smith presents two videos: White Hole, 2014 and Steve Hates Fish, 2015. These videos are joined by two framed reliefs titled One State Solution, 2015 and Plasticine Flag, 2015, which are sculpted from the eponymous modeling material.
The political and conceptual locus of the exhibition, White Hole, is constructed from one solitary image, pictured alternatingly in both positive and negative. Dependent on when the viewer enters the screening room, the video will either confound or engage. Half of the six-minute seamless loop is accompanied by an unintelligible voiceover, which at the start sounds like an inscrutable foreign language, but after a few moments of listening reveals itself to be reversed English. This soundtrack accompanies viewers on an uncharacteristically slow journey to the end of a train tunnel, eventually giving way to bright, unblemished white. But the train continues on, a tiny black speck appears on the horizon, and this time we hear the artist speaking to us.
With characteristic calm, Smith describes his only visit to a communist country – Poland in 1980. As a young leftist based in Great Britain just after the election of Margaret Thatcher, Smith recalls being pleasantly surprised by the lack of advertising signs, finding it amusingly difficult to determine from their window displays what shops were selling. By contrast, most Poles that Smith met longed for the capitalism of Western democracy. The artist then takes us 17 years forward to Leipzig, well after the fall of the Iron Curtain and just after the election of Tony Blair in Great Britain. The former East German city seemed to be flourishing under capitalism, yet growing unemployment and income disparity had fostered feelings of disquiet among the city’s residents, who coined a new aphorism – they felt like they could see ‘a tunnel at the end of the light’, just like that experienced by many British socialists after their initial enthusiasm for Blair’s ‘New Labour’.
Smith has long engaged with the concept of misunderstanding – be it ideological, political, linguistic, or misunderstanding that arises from subjective narration, filmic devices, and our relationship to the media that shape our view of the world. Smith’s latest video, Steve Hates Fish is an exploration in manufactured misunderstanding. By deliberately confusing the popular ‘Word Lens’ translator app for smartphones, which translates text in real time using the phone’s camera, Smith recasts the shop signs in his local neighbourhood as a bazaar of dada-ist plays-onwords. The jumpy, often useless jumble of words onscreen inspires a kind of empathy. Watching the app search its memory for a corresponding translation is somehow not far from the futility of trying to make heads or tails of signage in a country where one does not speak the language.
Alongside Steve Hates Fish are Smith’s two Plasticine reliefs, the most overtly political pieces in the exhibition. Plasticine Flag is simply that — a Palestinian flag sculpted from unaltered lengths of coloured Plasticine. One State Solution uses the colours of both the Palestinian and Israeli flags to spell ‘PALESTEIN’ in block capital letters. For an artist who has long engaged with politics – those both as local as neighbourhood house demolitions and as global as international border disputes – Smith’s directness presents a stark political imperative: act now and direct the course of the future away from the tunnel at the end of the light.
John Smith’s work has been widely shown internationally for more than three decades. It is regarded for its formal ingenuity and its ability to combine compelling narrative with an acute observation of the everyday, often subverting the boundaries between documentary and fiction. As Smith puts it, ‘...if you look hard enough all meanings can be found or produced close to home’.