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
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.