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.
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Director: Patrick Armstrong
Assistant to the Directors: Martha Glenn
Gallery Manager: Jessica Aimufua
Registrar: Henry Babbage
Finance Manager: Stefan Schuster
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„Weibliche" und „männliche" Körpersprache als Folge patriarchalischer Machtverhältnisse
6 July – 9 September 2012, Badischer Kunstverein, Karlsrühe
Co-curated by Mike Sperlinger, London.
During the years 1972 to 1977 Marianne Wex photographed people and their body language along the streets of Hamburg and subsequently classified her photos into different categories. She juxtaposed women and men according to the specific positioning of arms and legs, feet, knees, elbows, hands, shoulders, and heads. She was interested in the degree to which gender-specific conditioning and hierarchy is reflected through everyday poses and gestures. In order to expand her research, Wex supplemented the approximately 5,000 photographs taken in public space with rephotographed pictures from mass-media sources and comparative historical representations from antiquity and the Middle Ages.
The artist transferred the copious results of this research onto panels. She assembled the images and explanatory texts on each panel as collages: the upper row shows men posing as a mirror of patriarchal power structures, with the women situated below and occasionally a few exceptions to the stereotypes. Tying into this installative form, Wex published a more extensive book titled Let’s Take Back Our Space: Female and Male Body Language as a Result of Patriarchal Structures (1979). The panels and the book open up a gamut of photographic source material, ranging from Wex’s street photographs and photojournalistic shots to advertisements, art-historical reproductions, snapshots from family albums, to even include pornographic images, photographs of celebrities, and stills from television and films.
Marianne Wex’s photo project is highly conceptual. It elucidates a specific approach to the medium of photography and to the appropriation of found image material. At the same time, her work is localized within the context of the feminist movement of the nineteen-seventies, with the photo panels having been shown for the first time in 1977 as part of the exhibition Women Artists International 1877–1977 at NGBK in Berlin. In the late seventies and early eighties, the photo panels traveled to a number of national and international exhibitions but were eventually forgotten before some of the panels being once again exhibited in 2009 at the Focal Point Gallery in Southend-on-Sea. The exhibition at Badischer Kunstverein is now showing all existing panels, which have been prepared and compiled in collaboration with Marianne Wex for their current presentation.
The display structure has been developed in cooperation with artist Ruth Buchanan and architect Andreas Müller.
With special thanks to bildwechsel, Hamburg.