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
Choreographed by Omar Kholeif
The V-A-C Foundation, Palazzo Delle Zattere
New artist series
Published by Tanya Leighton, Berlin
Phaidon Contemporary Artist Series
Text by Julia Bryan-Wilson, Jeannine Tang, and Lanka Tattersall
Oliver Laric: 2000 Cliparts
Contemporary Art Museum St. Louis
18 January – 21 April 2019
The Violence of Gender
curated by Susanne Pfeffer
Tai Kwun Contemporary, Hong Kong
15 February – 28 April 2019
New Media Series — Oliver Laric
presenting Untitled, 2014-15
Saint Louis Art Museum
22 February – 27 May 2019
Halle für Kunst, Lüneburg
International Short Film Biennale
3 April 2019
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
Assistant to the Directors: Martha Glenn
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.