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
13 September – 21 October 2018, Bureau, New York
Tanya Leighton, Berlin and Bureau, New York are pleased to announce a solo exhibition, WIWI FOOD by the Berlin-based artist, Jonas Lipps. The exhibition marks the second half of an exchange between the two galleries, which began with Julia Rommel’s current exhibition, Twin Bed, in Berlin.
Lipps’s works often take up predominant systems of social order: schools, shopping centers, transportation networks, nation states and jails. These environments of control find themselves permeated by spoofs on their branding and design, malapropisms, anachronisms and associative inventions. Similarly, the pieces in Lipps’s latest body of work on view at Bureau are painted, drawn and collaged using both existing images and surreal interventions. Lipps repurposes paper napkins, the seals of correctional facilities and advertisements, placing them within environments that are charged with Freudian spillages, libidinal utterances and personal preoccupations.
Throughout the exhibition, Lipps uses matte, often unmixed Casein paint to block out geometrically simplified spaces and build patterns of color that seem to derive from an innate logic. More than once, a window, a grid or something resembling abstracted fencing blocks the viewer’s gaze into the scene unfolding in front of them. It’s as if the systems of social organization and control that can be seen represented in some works have made themselves manifest in others. If one piece depicts a prison, another could well be a view from inside of it.
The use of cheap paper napkins – decorated with kitschy or nationalistic motifs – recurs. There are German flags, mushrooms paired with hedgehogs, and a safari scene that has been retooled by the artist into a children’s book with anthropomorphized zebras and giraffes. The idea of emblazoning something one wipes their hands on and summarily discards is a bit unnecessary when you think about it. Lipps’s treatment of these rescued throw-aways is equal parts transformative and resigned to the fact that we are not always the ones making the decisions that affect us. You may build your own house, but you probably have to buy the bricks from somebody else.