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
18 November 2017 – 28 January 2018, The Renaissance Society, Chicago
The Renaissance Society presents Alejandro Cesarco, Song, featuring newly commissioned works alongside recent projects. Including video and prints, this poetic installation suggests themes of duration, refusal, repetition, and affective forms.
As an exhibition, Song carries a particular tempo, closer to the time of reading than the time of looking. Cesarco creates rhythm in his work by incorporating silences and withholdings: here the moving image works are presented sequentially, gently introducing a pace and flow to the installation and immersing the viewer in an aesthetic that the artist has elsewhere characterized as “muted melodrama.” In doing so, Cesarco begins to reveal how the works’ emotions lay in their tone, and in the particular mode of attention that they demand.
This presentation, as in the artist’s broader practice, represents a sustained investigation into time, memory, and how meaning is perceived. Sometimes romantic, other times melancholic, his works evince a deep engagement with the histories and aesthetics of conceptual art. Many of Cesarco’s artistic strategies point to the influence of a “personal canon” drawn from other art forms— literature, cinema, music, for example. In them, he locates not only structural and conceptual methodologies, but also a depth of feeling and acute sense of style.
At the heart of the exhibition are two related video works: the first chapter of the artist’s 2008 video, Everness, which features an actor reciting a monologue, written by Cesarco, on the meaning of tragedy; and Revision, a new remake of this chapter with the same actor, now almost a decade later. The principal difference between the two is a linguistic shift from present to past tense. The presentation of these videos together invites close reflection on the passage of time, the demands on productivity, the potentials of re-reading, and the contingencies of meaning.
Other pieces in Song similarly allude to moments of regret and hope, possibilities both past and future. A new series of prints, Vanitas (From Remorse to Regret) (2017), depict different tropes of the still life genre. A third moving image work, Interlude (2016), is a quietly impressionistic and tender portrait of the fleetingness and involuntary nature of memory. In The Dreams I’ve Left Behind (2015), time and space are revisited as the artist screenprints a faint image of the wall behind his own bed directly onto the wall of the gallery.
A catalogue will be published in Spring 2018 with new texts from Julie Ault, Wayne Koestenbaum, Lynne Tillman, and others.
Curated by Solveig Øvstebø.
Alejandro Cesarco, Song, is supported by the Chicago Committee of the Renaissance Society.