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
Things to Come
4 April – 1 June 2014, Gallery of Modern Art, Glasgow
Aleksandra Domanović looks at the history and development of technology through a gender-conscious lens. Her work specifically focuses on the point at which the machine meets, interfaces and touches the human user.
In her first institutional solo exhibition in Scotland, Domanović focuses on the marginalised representation of women in popular science fiction. Using the building’s position and architectural features, Domanović has re-contextualised the gallery by installing large sculptural prints on transparent foil. Films such as Blade Runner (1982), Demon Seed (1977), Alien (1979), Prometheus (2012) and Gravity (2013) form the source material for prints of objects that interact or contribute to an important part of the female characters’ narrative. These films deviate from the conventional representation of women in cinema, where they are typically shown as mother, love interest or victim.
The material used is similar to the celluloid sheets historically used by animation houses to draw and layer cartoon animations. Domanović discovered that the mechanical filling-in of the cartoon outlines was women’s work – the actual art-working was reserved only for men. This repetitive activity echoes the labour undertaken in this building 135 years ago, when the Gallery of Modern Art was a telephone exchange staffed entirely by women, who were referred to as ‘computers’.
Aleksandra Domanović’s exhibition is a multi-referential exploration of the role of women in technology, both past, present, and in the fictive future.
Alongside the exhibition, Domanović has created a DVD library of films relating to the issues examined in the exhibition.