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
Urban Turban: A moving picture + A well and carefully peeled potato: A still painting
5 September – 10 October 2015, Tanya Leighton, Berlin
The film is a collection and synthesis of some of the concerns I have been involved with over the last 10 years. Social positioning, posturing, non-verbal communication, the gesture, architecture, it is a glass work not class work, glass being the Mise en Scene, starting point being a glasshouse piece ‘People who make Art in Glasshouses 1969’ ending in a Think Tank in The Tate.
It is eclectic and appropriates everything, and everyone necessary, similar to a retrospective at The Tate 1972 ‘King for a Day’. It is an open system, every part, every move, every scene, every colour, every gesture, every word constructed, no gratuitous imagery or verbal postures or actions. It is didactic, informative, explanatory, using real language borrowed, commentary stolen, real people, real places, filmed in reverse, sideways, out of focus, upside down, joking about situations, the situations themselves jokes made clearer, this is a comedy, a tragedy, a prediction, a political film, an art film, a sex film, probably the first architectural movie, (real issues will be discussed seriously).
It will be seamlessly constructed, visually stunning, working on many levels, it is a moving picture and will position moving pictures in a fine art context alongside oil on linen, bronze on marble, white on white, black on black, because of the subject matter, the picture will be accessible to all, even though this is the first real art movie. Text, comment, subtitling, titling, visual and verbal interpretations, mis-interpretations, mistakes intentional, casual tat, constructed chaos will be visible in, on and around the moving images and will affect radically, the actions, moves, in the film. The work has plot, sub-plots interwoven into the structure, e.g. the cultural war, fought and won, the decimation of Britain as a cultural force/farce will be demonstrated visually and orally, predictions for future methods of government will be presented, reviewed etc. At the same time the work concentrates on three styles of headwear (male), the Bowler, the Stetson and the Homberg, (A vertical Beret and Spanish Sombrero may be included). It will be perhaps the first real hat movie.
Over the past 50 years, Bruce McLean has wryly and intelligently poked fun at the institutions of art from within. McLean’s radical conceptual practice – beginning with his days as a rebellious student at Central Saint Martins and stretching to the present – has touched nearly every medium, including those coined by the artist himself like ‘pose-work’. His work has been exhibited in seminal exhibitions including ‘When Attitudes Become Form’ at the Kunsthalle Bern, 1969; ‘Zeitgeist’ at the Martin Gropius Bau, Berlin, 1982; and three installments of documenta (1977, 1982 and 1987). Last year McLean was the subject of a major retrospective at firstsite, Colchester, which will travel to the Arnolfini Center for Contemporary Arts, Bristol and the Gallery of Modern Art, Glasgow in 2016. A publication organized by Dr. Jon Wood (Research Curator at the Henry Moore Institute) will accompany the exhibition at the Gallery of Modern Art, Glasgow. McLean lives and works in London.