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
23 March – 11 June 2017, Henry Moore Institute, Leeds, UK
This spring we invite Aleksandra Domanović (b. 1981) to create new sculptures that respond to our building. An important part of our exhibition programme is our continuing series of commissions for artists researching new thinking in the field of sculpture studies.
Domanović’s work is of both the past and the future, folding the aesthetic of classical sculpture into her investigation into how developing technology relates to the societies that create it. For Domanović technology is always gendered. Her sculptures are a collision of references that reflect the circulation and reception of images in digital media.
Votives presents new sculptures made in the tradition of Greek Korai, sculptural dedications of female figures that hold offerings. Three of Domanović’s figures hold animals and fruit – taking their cue from votive statues from the Sanctuary of Hera in Samos, Greece, which are now housed in the Altes Museum in Berlin where the artist is based.
Another three sculptures reimagine the Korai in a sports context. Displayed alongside these six Votives stands a series of monolithic vertical monuments made of over 10,000 sheets of stacked A4 paper. These Paper Stacks address the reproducibility of images on the internet. Images are formed on each side of the sculptures by using the borderless function on an inkjet printer, a machine that less than a decade ago was the height of home-office technology, but now is near obsolete.
In our central gallery is the monumental votive ‘Calf Bearer’ (2017). Over four metres tall, it draws on both Domanović's recent research into molecular biology and the ancient Greek sculpture ‘Moscophoros’ – a statue of a man carrying a sacrificial calf on his shoulders. Presumed to have been built as a votive offering to the goddess Athena, it was found in fragments in the Athens Acropolis.
Votives also shows ‘Turbo Sculpture’ (2010–13), a moving image work underscoring the artist’s concern with the public life of sculpture. It interrogates the phenomenon of public sculpture in the former Yugoslavia, the artist’s country of birth, dedicated to non-national media celebrities, such as Bruce Lee, Bob Marley and Samantha Fox.