29 June – 24 August 2019, Tanya Leighton, Berlin
Preview: 28 June 2019, 7–9 pm
Tanya Leighton is pleased to present ‘Nel Mezzo’, Sharon Hayes’ third solo exhibition at the gallery and the first presentation in Germany of her on-going video series ‘Ricerche’.
Sharon Hayes investigates the act of public speech and its intersections with history, politics, activism, queer theory, love and sexuality. In performances, videos, and installations, the artist examines these notions with regard to both the collective and the individual voice. ‘Ricerche’ is a project composed of multiple video works that uses Pier Paolo Pasolini’s film ‘Comizi d’amore’ (Love Meetings) as a guidepost for an examination of gender, sexuality and contemporary collective identifications.
In 1963, Pasolini travelled through Italy with a small camera crew on a cinematic inquiry. Interviewing groups of people (neighbours, co-workers, families, students, army buddies and members of a football team) on their views on sex, sexuality and what Pasolini named “inversion” or “perversion”. Pasolini divides this cinematic report into ‘Ricerches’ (Researches). As he moves from beach resorts, to town centres, to fields, universities and factories throughout the country, the work gathers various frictions: between the north and the south, progress and maintenance, young and old, children and parents, urban and rural, etc.
In her work ‘Ricerche’, Sharon Hayes adapts the structure of ‘Comizi d’amore’, following Pasolini’s foundational conceit to interview people outside and in groups. Borrowing from Pasolini’s questions and shot composition, Hayes’ works isolate certain of Pasolini’s scenes and stretch them in volume and duration. ‘Ricerche’ unfolds a contemporary field of non-hetero-normative family structures and non-binary gender identifications, and attempts to account for the complex contemporary conditions that inform collective understandings of gender, sex and sexuality as well as national, religious and ethnic identities.
Ricerche: three, 2013
Single Channel HD Video (Colour, Sound) 38 minutes
Commissioned for the 55th Biennale di Venezia in 2013, this work is an interview with 35 students at Mount Holyoke College in Massachusetts.
An all-women’s college, Mount Holyoke faced decades of declining enrolment from US born women and made a commitment, in the 1960s to heavily recruit international women. In the last decade, Mount Holyoke, as with many of these gender-segregated institutions, faced the increasing necessity to accommodate students who decide (after enrolment) to change their gender from female to male. On this level, and indeed less explicit ones, the population attending Mount Holyoke exists on a much wider gender spectrum than the description “all women’s college“ can hold clear.
In ‘Ricerche: three’ the 35 interviewees gather in one location, discussing gender normativity, religion, marriage, sex and queerness. In the last 12 minutes of the piece, the group erupts into a heated debate about transnational feminisms and the legacies of US imperialisms.
Ricerche: one, 2019
Two Channel HD Video (Colour, Sound) 28 minutes
This video diptych is Hayes’ most recent addition to the series. Structurally, it begins the same way ‘Comizi d’amore’ does, as Hayes gathers groups of children to ask the question: “Where do babies come from?”
Shot over one week in Provincetown, Massachusetts, all of the participants in Hayes’ video are the children of queer or gender nonconforming parents. The work is composed of interviews with two age groups: 5-8 year olds and young adults. Similar to those in Pasolini’s interviews, the young children on screen produce delightfully fragmented answers that mix imagination, fantasy, and words they repeat from things adults have said to them.
The young adults on the opposite screen, are deeply experienced with the narrative of their families and their births, most of them having had to account for their families repeatedly over the two and three decades of their lives. These interviews share detailed perspectives on their complex family histories and their position and role in the quickly evolving political and juridical landscape for queer people, and by extension queer child rearing, in the United States.
Come out!, 2019
Acrylic paint and newspaper on textile
110 x 154,5 cm
43.3 x 60.83 “
Hayes’ most recent work in the exhibition is ‘Come out!’. Facing the wall, this protest banner is hung back to front to inverse its slogan, which bleeds through the fabric. Scraps of a layer of newspaper – presumably used as a drop cloth – are stuck to the paint on what is now the front of the banner. Collected during the week of 15 June 2019, snippets of still recent news items can be made out, creating a fragmented snapshot of our current cultural moment.
'Come Out!' was a magazine published by The Gay Liberation Front. GLF, a multi-issue radical political liberation movement, existed from 1969-1973, coalescing in the aftermath of the Stonewall Uprising. The GLF often used the magazine as a recruitment tool, and something like a megaphone and a protest banner.
Sharon Hayes is one of the most influential politically and socially committed artists working in the United States. She has been the subject of retrospectives at the Whitney Museum of American Art, New York; Museo Nacional Centro de Arte Reina Sofía, Madrid; and currently at Moderna Museet, Stockholm (on view until 11 August 2019). Hayes’ work is part of the public collections of Tate, London; Museum of Modern Art, New York; Solomon R. Guggenheim Museum, New York; Whitney Museum of American Art, New York; Dallas Museum of Art; San Francisco Museum of Modern Art; Kunstmuseum St. Gallen; Museum of Modern Art Warsaw, Warsaw; among many others.
Sharon Hayes lives and works in Philadelphia, where she holds the position of Associate Professor of Fine Arts at the University of Pennsylvania.
26 April 2019
An ongoing curated project with artists, designers, ceramicists and florists
Paris Internationale 2019
17 – 20 October 2019
Preview: 16 October 2019
Throwback Jack, group show curated by Amanda Schmitt, Fredericks & Freiser Gallery, New York, NY
20 June – 26 July 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
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
Interim 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
On Swabian Hedonism
28 October – 9 December 2017, Tanya Leighton, Berlin
The people of Europe, already the oldest in the world, are getting older. The median age of the EU-28’s population was 42.6 years in 2016. By comparison, in the United States it is 37.9 and in Niger only 15.3.
Between 2001 and 2016, the median age in the EU increased by 4.3 years. Put another way, Europe’s median age increased by more than three and a half months per year of that period. But this disguises significant variation. Germany’s median age, at 45.8 years, is almost ten years more than Ireland’s, which currently stands at 36.4. At 37, an Irishman will have more compatriots younger than him than he does older, while his German cousin will need to wait until he’s 46 for the same sensation.
Europe is ageing in part because people are living longer. A German born in 1980 could expect to live until 73, but one born in 2015 should pass 80. Life expectancy for all Europeans increased by 2.9 years between 2001 and 2016, though there is wide variation in life expectancy between countries. A man born in Sweden can expect to live 11 years longer than one born in Lithuania (80.4 and 69.2 years respectively).
Women live longer than men. The UK has one of the lowest gender gaps in life expectancy at birth in the EU, with females only expected to live for 3.6 years longer than males. In Lithuania females are expected to outlast males by ten and a half years.
Childhood mortality has declined because of the development of vaccines and other medical technologies, improved public health systems, and better nutrition. For example, measles, which in 1915 was the leading cause of death in children, killed only three people in the UK between 2001 and 2013. Life has also become safer in other ways. In rich countries, interstate war has become negligible as a contributor to mortality. Cars have also become less deadly: Between 1955 and 1995, traffic accidents were the leading killer of children in Britain. By 2015 they weren’t in the top ten (replaced by cancer as the most frequent cause of death).
As people are dying less from accidents, violence and epidemics, ‘old age’ diseases are becoming the leading causes of mortality. Alzheimer’s disease and dementia first made it into the top 10 causes of death in the UK in 2015. However, the biggest factor in demographic change has been a decline in birth rates. This has resulted in a ‘demographic bulge’, the clearest example of which is the ‘baby boomer’ generation. There may be many reasons for this, including shifting cultural norms, an increase in living standards, rising education costs, or even a decrease in sperm counts (which have halved in the past forty years in Western countries, though the link between this and lower fertility is not yet clear).
The proportion of the population over 65 is increasing in every EU state, EFTA member and candidate country. By 2080, the share of those over eighty years old is expected to more than double, from 5.4% to 12.7% of the population. At this point over-65s will account for almost a third of the total population (29.1% compared with 19.2% in 2016). In Germany’s 2017 Bundestag elections, 22 million voters were older than 60, which represented more than a third of the electorate. In 2040 this could exceed 40% according to these same forecasts.
Increased longevity has meant a major shift in the proportion of working age people (15 to 64 years old) to dependents, particularly retirees, with significant implications for the provision of public services. At 13.2%, Germany has the lowest number of young people as a proportion of population in the EU (by comparison Ireland, the highest, has 21.9%). Concurrently, it has the third highest proportion of old people (21.1%), behind Italy and Greece. This confluence is a headache for Germany’s policy makers, only improved marginally by a recent uptick in births or the resettlement of refugees from Syria.
The age dependency ratio is a measure of the ratio of the working age population to dependents (younger and older people). While in the EU as a whole there are approximately 4 working age people to every adult over 65, in Germany it is closer to 3. Across Europe this is expected to drop to less than 2 by 2080. At that point, combining the young and old age ratios into a total dependency ratio, Europe is projected to have less than 1.3 working age adults for every dependent person, a decrease from 2 now.
Since 2015, more people have been dying each year in Europe than are being born, in fact last year more children were born in Nigeria than in the EU-28 combined. Overall population growth, therefore, is caused in some part by immigration. While more people are entering the EU-28 than leaving, free movement has meant that some countries are experiencing population decline as people move within the union. For example, Poland is projected to lose 40% of its working age population by 2060. However, across the continent, migration acts as a countervailing trend in the statistics, because migrants tend to be younger than the population as a whole. Indeed, in 2015 approximately 6.8% of the population had been born outside of the European Union, though this is smaller than in the United States (14.5%), Canada (21.8%) and Australia (28.2%).
Growing older will change Europe’s place in the world. In 1960, 13.5% of the world’s population lived in what are now the twenty eight countries of the European Union. By 2015 this had shrunk to 6.9% and will decline further to 5.1% by 2060. By comparison, with a median age of 19.7, Africa’s share of world population will increase from 13% in 2012 to 24% by 2050. Then the median age of the continent will still be around 25 years old (in Germany it is expected to be nearly double that figure).
Some of the effects of an ageing population can be seen in Japan, which is the oldest of any large country. In 2015, more than ten thousand dementia sufferers went missing. Adult diapers now outsell those of infants. There are proposals to raise the retirement age to 75, and under new proposals advanced by a joint committee of the Japan Gerontological Society and the Japan Geriatrics Society, people aged 65-74 would be classified as pre-old age and those over 75 would be in the old age category. People who have passed their 90th birthday would be described as “super-old”.
The sum of human experience is growing as the world gets older and lives longer. By the end of this century the average person will be a little over 42 years old, compared with around 30 now. The world's population will have stabilised at just over 10 billion and those people will have accumulated 430 billion years of human experience between them. Given the challenges the planet may be facing by then, it might be hoped such experience brings them wisdom as well.
Tanya Leighton is very pleased to announce 'On Swabian Hedonism', Oliver Osborne's first solo exhibition at the gallery. He will present a group of new paintings that include elements of figuration, appropriation and abstraction. These new paintings have been made using oil, silkscreen, and embroidery. The imagery in the show has been drawn from a variety of sources, including a history of a 19th century mineral bath in Stuttgart, a comic co-created by the American cartoonists Brant Parker and Johnny Hart, and a selection of motifs that recur in Osborne's work such as bread, pregnancy, apples and a young Angela Merkel.