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
The Big Picture
2 May – 20 June 2009, Tanya Leighton, Berlin
TANYA LEIGHTON GALLERY is pleased to present The Big Picture, the first solo exhibition by Swiss artist Aurélien Gamboni (b. 1979).
The Big Picture - its title drawn from the TV series produced by the U.S. Army in the 1950s and '60s - presents two new series of works that explore the act of revisiting ideas, systems, and models from the past to approach our present economic, social and political crisis and the accompanying 'crisis of meaning'. The first of the series, entitled Geister und Gespenster, is comprised of drawings that question re-appropriation strategies in contemporary art and
'revivalist' tendencies within culture more broadly. Gamboni layers image upon image creating patterns and figures in an accumulative fashion. The series title refers to Karl Marx's book of 1852, The Eighteenth Brumaire of Louis Napoleon, wherein he analyses how Napoleon III strategically built upon the ideological fantasy that his uncle Napoleon Bonaparte had left in the collective imagination. According to Marx, this attempt to revive the spirit (Geist) of a figure leads to the apparition of an agonising and hallucinatory spectre (Gespenst). Quoting Marx: "Hegel remarks somewhere that all great world-historic facts and personages appear, so to speak, twice. He forgot to add: the first time as tragedy, the second time as farce." Drawing upon the inevitability of failure inherent in any restitution attempt - be it of a historical event or fictional character - Geister und Gespenster opens up a space to consider the spectral dimensions of figures and events within personal and collective memory.
Geister und Gespenster, depicting figures such as Gage (from Stephen King's Postmodern Gothic Pet Sematary), Madeleine (Hitchcock's allegorical figure from Vertigo), and Fala (Franklin D. Roosevelt's dog), segues into Gamboni's second series of works. This is an 'empty' structure, inspired by the significant exhibition designs such as the Independent Group's An Exhibit (1957). An Exhibit was conceived as a photographic exhibition without pictures, consisting simply of an arrangement of transparent panels in space. The artist reclaims and modifies this proposition of the empty framework, defacing the Perspex panels with graffiti-like text and sketches. Gamboni's structure stages and questions a 'battle of narrative', playing with binary oppositions common to art history: theory and practice; narrative and anti-narrative; discourse and experience.
Born in 1979, Aurélien Gamboni lives and works in Geneva, Switzerland. He was curator (with Kim Seob Boninsegni) of Forde - an independently-run art space in Geneva (2006 - 2008). Gamboni's work has been exhibited internationally including at Fragile Monumente (2009), Susie Q Projektraum, Zurich; Aurum, Centre PasquArt, Bienne, Switzerland (2008); Swiss Art Awards, Basel (2008); If It's A Bird, Shoot It!, Sculpture Center, New York (2008); Unter 30, CentrePasquArt, Bienne, Switzerland (2007); Berthoud, Lissignol-Chevalier and Galland Grants, Contemporary art center of Geneva (2007); Swiss Art Awards, Basel (2007)(recipient of the National Prize, Kiefer-Hablitzel Foundation).
With special thanks to Henriette Huldisch, Eva Lütte, Hannah Munger and Penny Rafferty.