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
As We May Think: Feedforward
The 6th Guangzhou Triennial 2018
Guangdong Museum of Art
21 December 2018 – 10 March 2019
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
Waiter Waiter Curator Curator
13 February – 16 April 2011, Tanya Leighton, Berlin
Tanya Leighton Gallery will present the first solo exhibition in Berlin by celebrated British Conceptual artist Bruce McLean (born London, 1944). Using diverse media and iconoclastic approaches, McLean’s work is preoccupied with the minutiæ of human behaviour — the gestures, styles and mannerisms that orchestrate our lives. His art reveals a subversive desire to poke fun at every imaginable artistic or social convention.
The exhibition will present original documentation of McLean’s performance projects from the late 1960s, ‘70s and ‘80s alongside films that have never been shown before in Germany. Working in a variety of mediums including painting, film and video projection, performance and photography, Bruce McLean is one of the most important artists of his generation.
It was with live works that McLean first grabbed the attention of the art world. An impulsive, energetic Glaswegian, he became known as an art world 'dare-devil' by critiquing the fashion-oriented, social climbing nature of the contemporary art world in the '70s. At St Martins his professors included the great sculptors of the day, Anthony Caro and Phillip King, whose work he mocked ruthlessly. In ‘Pose Work for Plinths I’ (1971; London, Tate), he used his own body to parody the poses of Henry Moore's celebrated reclining figures, daring to mock the grand master himself.
The notion of using his whole body as a sculptural vehicle of expression led him to explore live actions: 'it was when we (a collective) invented the concept of 'pose' that We could do anything'. Pose was live sculpture: Not mime, not theatre, but live sculpture. My colleagues, Paul Richards, Ron Carr, Garry Chitty, Robin Fletcher and I created Nice Style 'The World's First Pose Band', which performed for several years, offering audiences such priceless gems as the 'semi-domestic spectacular Deep Freeze, a four-part pose opera based on the lifestyle and values of a mid-west American vacuum cleaner operative'. Behind the obvious humour was a desire to break with the establishment, something that he has continued to do throughout his life and work. In 1972, for instance, he was offered an exhibition at the Tate Gallery, but opted, for a 'retrospective' lasting only one day. 'King for a Day' consisted of catalogue entries for a thousand mock-conceptual works, among them The Society for Making Art Deadly Serious piece, Henry Moore revisited for the 10th Time piece and There's no business like the Art business piece (sung).
￼￼￼￼￼￼￼￼￼￼￼￼￼The exhibition WAITER WAITER CURATOR CURATOR will present one of McLean’s little-known early films ‘Crease Crisis’ (1973). ‘Crease Crisis’ creates an absurdist mise-en-scène in which Paul Richards is seen maniacally and obsessively reviewing his appearance in a mirror, occasionally ironing parts of his trench coat, in a vain and ultimately useless attempt to emulate the image of the American movie star Victor Mature, whose picture hangs on the wall.
One of the latest pieces within the exhibition is a short film: ‘Soup. A Concept Consommé’ that displays McLean’s keen script-writing skills. Accentuating the ‘theatre’ of restaurant-going ‘Soup’ takes its theme from the history of Modernist sculpture and the observations of manners, gestures and behaviours of staff and customers in an up-market restaurant. Incisively humourous both films derive from a concern with the seemingly trivial aspects of appearance and body language, and how they inform the different identities we knowingly and subconsciously assume.
The first exhibition McLean participated in was the experimental and highly regarded ‘When Attitudes Become Form’, curated by the late Harald Szeemann, at the Kunsthalle Bern. Other seminal shows he participated in were ‘Op Losse Schroeven’, Stedelijk Museum, Amsterdam 1969; ‘Information’, curated by Kynaston L. McShine at the Museum of Modern Art New York 1970, and ‘The British Avant Garde’, New York Cultural Centre 1970. In the 1980's other important shows included ‘A New Spirit in Painting’, Royal Academy 1981; ‘Zeitgeist’, The Martin Gropius Bau, Berlin 1982; and ‘documenta 6, 7 & 8’, Kassel.
Between 1981 and 1986 — when the gallery closed — McLean had nine solo and group exhibitions at D’Offay Gallery in London, showing alongside Andre, Baselitz, Beuys, Clemente, Gilbert & George, Johns, Kelly, Kiefer, de Kooning, Koons, Kounellis, Long, Merz, Miyajima, Mucha, Nauman, Polke, Richter, Schnabel, Smith, Turrell, Twombly, Viola, Warhol, and Weiner.