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
19 September – 31 October 2009, Tanya Leighton, Berlin
“I like art that I do not fully grasp. Alejandro's work puzzles me. It appears deceptively simple. Beckett or Pinter come to mind. It seems stringent, but it is laden with emotion. He is an artist I feel certain will brilliantly flower and amaze me.” — John Baldessari (August 2009)
Tanya Leighton Gallery is very pleased to announce 3 Works by Alejandro Cesarco (b. 1975 Montevideo, Uruguay). For his first solo exhibition in Germany, Cesarco addresses his recurrent interests in repetition, narrative and the practices of reading and translating. Through various strategies the show explores layers of references to personal and artistic influences, notions of the romantic, the construction of narrative, and the experience of time.
Tanya Leighton Gallery will present the European premier of Alejandro Cesarco’s film Everness. Comprised of 5 chapters, the film includes a remake of the very last scene of James Joyce’s The Dead a monologue on the meaning of Tragedy, a breakfast scene, and two songs: one from the Spanish Civil War and another from Brasil’s Tropicalista movement. Everness addresses the revision of public and private history, while tangentially describing ideas typically associated with moments of youth: a first love, the loss of innocence, and a somewhat naive, yet sincere, political conviction towards the real. In this context Everness
also deals with our difficulty or inability to perceive and understand our affective experience and that of others.
The show also includes Cesarco’s most recent Index, part of an ongoing project of unwritten books that map the development of his interests, readings and preoccupations. This series has become a form of self-portraiture, that unfolds over time. In Index (a reading) Cesarco again plays out his fascination with memory, history, and forgetting. This large photographic project self consciously addresses the idea of what constitutes an index and how the archival and documentary impulse seem ultimately a way to write one’s own
subjectivity into the historical process.
Stage Direction/Establishing Shot with much restrained means both introduces and
closes the show, setting a sentimental tone that tints our general viewing experience and lingers with us back into the street. A small text made in vinyl installed on a wall near the window reads: “The sheets on the unmade bed, the carpets, the furniture, the wrought iron balcony outside the window, the ocean which is the color of steel and lavender, the mountains – everything within their sight – is unaffected by the rapid beating of each heart.”
Two new publications concerning Everness with commissioned essays by Julie Ault and Maria Gainza, have been organized to coincide with this exhibition.
Cesarco has curated exhibitions in the U.S., Uruguay, Argentina and most
recently a project for the 6th Mercosur Biennial (2007), Porto Alegre, Brazil.
He is director of Art Resources Transfer a non-profit arts organization where
he initiated and edits Between Artists, an ongoing series of conversation based
books. He lives and works in New York.
This exhibition and the accompanying publication are supported by The Rolex
Mentor and Protégé Arts Initiative (www.rolexmentorprotege.com), an
international philanthropic programme that seeks out talented young artists and
pairs them with great masters for a year of creative collaboration. Under the
Rolex programme, Alejandro Cesarco worked with the renowned artist John
Baldessari in 2006 and 2007. The Rolex Initiative gives young artists time to
learn, grow and create by providing financial support during the mentoring
year. It also provides additional funding to produce works that will help them
realise their potential and join the next generation of great artists.
With special thanks to Rolex, Rita Fischer, Fernando Foglino, Adam Gibbons