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 Future Was At Her Fingertips
27 April – 30 June 2013, Tanya Leighton, Berlin
Tanya Leighton is very pleased to announce The Future Was at Her Fingertips, an exhibition with Berlin-based artist Aleksandra Domanović. This is Domanović’s first solo show at the gallery.
In The Future Was at Her Fingertips Domanović explores the circulation and reception of images and information, relating specifically to the history of the Internet and technology in the former Yugoslavia. The exhibition draws attention to one of the earliest attempts to develop an artificial limb with the sense of touch – known as the ‘Belgrade Hand’. Invented by Rajko Tomović at the end of the Second World War as a prosthetic device intended for soldiers who had lost their hands in the war, it was then further developed by scientists at MIT. The prosthetic later stared in Donald Cammell’s 1977 Hollywood movie Demon Seed where a scientist created ‘Proteus’ – an organic super computer with artificial intelligence who became obsessed with human beings.
In tracing the history of Tomović’s hand Domanović uncovered just how important women were in the development of the creation of the Internet, Cybernetics, virtual reality and multimedia. From Ada Lovelace who wrote what is considered to be the first computer programme, to Sadie Plant’s work on the social potential of cyber-technology, to the registration of the .yu domain by Slovenian Internet pioneer Borka Jerman Blazić, Domanović charts a history in which women are the unsung heroes of technical innovation.
For the exhibition at Tanya Leighton, Domanović commissioned a fully rigged computer model of the ‘Belgrade Hand’, from which she has made five 3D printed sculptures in various gestures and symbols from diverse cultural traditions and historical timeframes – from an Indian symbol of immortality and love, to a closed fist, to one that resembles a Spanish reliquary from the 16th century. Made out of plastic, then filled with polyurethane and coated with brass, aluminum, and ‘soft-touch’ – a recently developed material used by car manufacturers to lend a feel of quality to interiors – these works, as well as a new ink-jet print by Domanović, can be seen as monuments to both technological innovation and the contribution women have made in this field.