7 September – 19 October 2019, Tanya Leighton, Berlin
Preview: 6 September, 7-9 pm
Tanya Leighton is pleased to present ‘Fabula Rasa’ — a group exhibition that investigates the literary form of the fable from six artistic positions. Recognising the blend of animate and inanimate objects that lays at the core of fables, ‘Fabula Rasa’ focuses on the potential of this interplay to critically reflect the human condition.
The exhibition title is a word play on the concept of the clean slate or ‘tabula rasa’. Life begins without knowledge and lived experience grows our understanding of the world. As much as fables relay shared memories and moral values, they also offer a way to recalibrate ourselves. The works in the exhibition propose perspectives from which to do so.
Sam Anderson’s interest in the dramaturgical narratives of everyday life often leads her to the recast characters that traditionally play set roles. In this case, the tragic-comic figure of the clown, a figure who both entertains and critiques society, is her subject. Both an outsider and an integral part of a community, the classic humorist tells fables of everyday life to question the ways we live together. This ‘clown’, however, is a fabulous and somewhat menacing caricature of itself — a replica dolphin scull, masked with a teardrop, a red nose, and a row of teeth so long it is hard to discern a smile or a grimace.
Antonio Ballester Moreno’s pictographic paintings are distillations of the fundamental ways in which humanity defines itself in relation to the larger world — knowledge, morality and the nature of being. Ballester Moreno’s geometric forms and palette of primary colours speak to an archaic image-memory, exploring what it actually means to be humane. Trees, mountains, moons and suns constitute a universal lexicon while echoing the building blocks of the ancient fable.
The hand-painted animation by Matt Copson introduces archetypal figures from European mythologies into a dystopian limbo. Here, a headless fox circles a maniacally self-obsessed woodpecker whose monologue details a compulsion to define the object of its love. As an allegory for the artist at work or sociopathic manoeuvring, Copson’s parable delivers an unsettling moral about how we relate to the world around us.
Notions of physical malady recur in the work of Jesse Darling. A winding crutch and a bent walking stick emerge like charmed snakes from an altar-like pedestal that floats above the ground. Part of Darling’s larger project, ‘The Ballad of Saint Jerome’, this sculpture retools the eponymous fable to examine the contemporary relationship between healer and healed.
Michael Dean’s sculptures begin in the realm of language – as a means of expressing love, anger, or grasping for understanding. In their translation from text to thing, Dean’s objects and icons become stand-ins for larger narratives. Considering what it means to create a physical extension of oneself, Dean’s concrete and rebar sculptures are human-scaled, bear traces of their making, and introduce new anthropomorphous characters into the exhibition space.
Staring into space through hollow eyes, the vacant, thinking and feeling figure by Austrian artist Heinz Frank is a residue of a body in distress. Part tree, part box, part mask and part spine, its anatomy consists of natural and artificial components that deconstruct the impressive mythical figure of the lion to an assemblage of objects — some quotidian, some bizarre.
17 – 20 October 2019
Preview: 16 October
'Christine Roland & Ruby Barber'
Hiroka Yamashita Kurfürstenstraße 156
Bauhaus: Utopia in Crisis, curated by Professor Daniel Sturgis
Camberwell Space, Camberwell College of Arts (forthcoming)
16 September – 9 November 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 at Galleria d'Arte Moderna, Milan
11 November 2019 – 5 January 2020
Phaidon Contemporary Artist Series
Text by Julia Bryan-Wilson, Jeannine Tang, and Lanka Tattersall
Beethoven – World.Citizen.Music Bundeskunsthalle, Bonn
17 December 2019 – 26 April 2020
...and other such stories
Chicago Architecture Biennial
19 September 2019 – 5 January 2020
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
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
There's So Much I Want To Say To You
21 June – 9 September 2012, Whitney Museum of American Art, New York
Beginning June 21, artist Sharon Hayes (b. 1970) will take over the Whitney Museum of American Art’s third-floor Peter Norton Family Galleries for a projectbased exhibition – her largest museum installation to date – featuring a group of new works commissioned by the Whitney as well as a selection of existing works. All the works articulate different forms of what the artist refers to as “speech acts.” Neither a retrospective nor a survey of Hayes’s career, There’s so much I want to say to you is the fourth in a series of full-floor artist projects that has so far included exhibitions by Paul McCarthy, Christian Marclay, and Cory Arcangel. Hayes’s exhibition is curated by Chrissie Iles, the Whitney’s Anne & Joel Ehrenkranz Curator, in close collaboration with the artist.
Throughout her work in performance, video, photography, sound, and installation, Sharon Hayes explores the connections between love, politics, and history, through various forms of address. The new works, made especially for this exhibition, include a video work on the subject of Anita Bryant, featuring a large-scale projection of the notoriously homophobic Bryant getting hit in the face with a pie while crusading against gay rights. A vinyl record titled Sarah H. Gordon's Strike Journal, May 1970, specially pressed for the exhibition, records Sarah Gordon reading from a journal she wrote as a student during a strike at her university against the Vietnam War. For a large wall piece titled Join Us, Hayes has assembled 600 flyers inviting participation in various political actions from the 1960s to the present. A one-hundred-foot-long curtain with text introduces the exhibition, and a video installation of voice portraits will be shown, as well as a new film installation made in collaboration with the 1960s feminist activist Kate Millett. The artist also plans a live performance in the exhibition space.
Hayes is collaborating with fellow artist Andrea Geyer – the two have known each other since studying together in the Whitney’s Independent Study Program – to create an environment for the exhibition, a site-specific structure that both contains all the works in the show and functions as an independent artwork. Using the vernacular of transient staging for trade shows, political rallies, and other outdoor events, Hayes and Geyer are creating a space using platforms, walls, and seating arrangements that indicate a series of impending temporary events, in which speech of various kinds is always implied. The exhibition’s staging of speech using found footage, video and audio recordings, ephemera, and language, weaves together narratives from the past and the present with personal declarations of desire, longing, and love. There’s So Much I Want to Say to You becomes a declaration to us, the viewers; to an unknown lover; and to an as yet unidentified public, in a complex dialogue between the domains of public, private, and political speech.
Among the existing works to be shown are the video installation Symbionese Liberation Army (SLA) Screeds #13, 16, 20, & 29 (2003), some of which will be shown in New York for the first time. On February 4, 1974, the heiress Patty Hearst was kidnapped from her apartment in Berkeley, California, by the radical political organization called the Symbionese Liberation Army (SLA). From February to April 1974, the SLA and Hearst made four audio tapes in which Hearst addressed her parents about her kidnapping, the SLA's ransom (that the Hearst family feed all the poor in California), and the actions of the family and the FBI during the ordeal. In the last tape, Patty Hearst (rechristened Tania by this point) announced that she was joining the SLA in their struggle. From June 2001 to January 2002, Hayes performed a recitation of each of the four audio tapes. In each instance, the artist partially memorized the transcripts and spoke the text in front of an audience to whom she gave the text. She asked the audience to correct her mistakes and to feed her a line when she needed it.