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
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.