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
Aleksandra Domanović: Untitled (In My Feelings)
14 December 2018 – 24 March 2019, MOCA, Cleveland, Ohio
MOCA Cleveland presents the first major US solo museum exhibition of Aleksandra Domanović (b. 1981, Novi Sad, Yugoslavia). This exhibition brings together recent sculptures and a newly commissioned film.
Domanović is widely acclaimed for her work in sculpture, video, photography, and mixed-media. Her research-based practice pays particular attention to the role of specific individuals and historic developments that emerged over the last few decades at the intersections of science and technology, with an emphasis on the underrepresented role of women.
MOCA Cleveland’s exhibition presents two ‘Votive’ sculptures, which are part of an ongoing series that explores the history of genetic engineering, and the current employment of the controversial gene-editing technology CRISPR in both plant and animal life. Her recent solo exhibitions at Tanya Leighton Gallery, Berlin (2016); Henry Moore Institute, Leeds (2017); and Bundeskunsthalle Bonn (2017) featured sculptural and photographic work made as part of her ongoing engagement with the intersection of technology, genetics, and agriculture. Complementing and building from her continued research, the artist presents a new film commissioned for this exhibition that explores the genetic-engineering of cattle for various desirable traits through an experimental fictional lens that explores art historical references and scientific touchpoints.
Also on view are the Belgrade Hand and Minsky Arm, two pioneering pieces of artificial intelligence and prosthetic technology. Presented here for the first time in 20 years outside of their permanent home at the Massachusetts Institute of Technology (MIT) Museum, these independently-invented artifacts inform and appear regularly in artist Aleksandra Domanović’s sculpture, video, and photography. Click here to read more.
Aleksandra Domanović has had solo exhibitions at Bundeskunsthalle Bonn (2017); Henry Moore Institute, Leeds (2017); Tanya Leighton Gallery, Berlin, (2016); Plug In ICA, Winnipeg (2015); High Line Art, New York (2015); Museum Boijmans Van Beuningen, Rotterdam (2015); Gallery of Modern Art, Glasgow (2014); SPACE, London (2012); and Künstlerhaus Bethanien, Berlin (2012), among others.
Selected group exhibitions include, Artificial Tears, MAK Museum für angewandte Kunst, Vienna (2017); What People Do For Money: Some Joint Ventures, Manifesta 11, Zurich (2016); Ordinary Pictures, Walker Art Center, Minneapolis (2016); Electronic Superhighway, Whitechapel Gallery, London (2016); Hecker Leckey Sound Voice Chimera, MoMA PS1, New York (2015); Concentrations 59: Mirror Stage—Visualizing the Self After the Internet, Dallas Museum of Art, Texas (2015); L'usage des forms, Palais de Tokyo, Paris (2015); Triennial: Surround Audience, New Museum, New York (2015); Shanghai Biennale, Shanghai (2014); Art Post-Internet, Ullens Center for Contemporary Art, Beijing (2014); Remote Control, ICA, London (2012); and Higher Atlas, Marrakech Biennale 4th Edition, Marrakech (2012).
Additional support for Aleksandra Domanovic: untitled (In My Feelings) is provided by Hahn Loeser & Parks LLP.
All current exhibitions are funded by The Andy Warhol Foundation for the Visual Arts and Leadership Circle gifts from anonymous donors, Yuval Brisker, Joanne Cohen and Morris Wheeler, Margaret Cohen and Kevin Rahilly, Becky Dunn, Harriet Goldberg, Agnes Gund, Michelle and Richard Jeschelnig, Donna and Stewart Kohl, Jan Lewis, Toby Devan Lewis, and Scott Mueller.
All moCa Cleveland exhibitions are supported in part by the residents of Cuyahoga County through a public grant from Cuyahoga Arts & Culture, the Cleveland Foundation, the George Gund Foundation, and the continuing support of the Museum’s Board of Directors, patrons, and members. Sherwin-Williams is the official paint of moCa Cleveland.