7 September – 19 October 2019, Tanya Leighton, Berlin
Preview: 6 September, 7-9 pm
Tanya Leighton is pleased to present ‘Fabula Rasa’ — a group exhibition that investigates the literary form of the fable from six artistic positions. Recognising the blend of animate and inanimate objects that lays at the core of fables, ‘Fabula Rasa’ focuses on the potential of this interplay to critically reflect the human condition.
The exhibition title is a word play on the concept of the clean slate or ‘tabula rasa’. Life begins without knowledge and lived experience grows our understanding of the world. As much as fables relay shared memories and moral values, they also offer a way to recalibrate ourselves. The works in the exhibition propose perspectives from which to do so.
Sam Anderson’s interest in the dramaturgical narratives of everyday life often leads her to the recast characters that traditionally play set roles. In this case, the tragic-comic figure of the clown, a figure who both entertains and critiques society, is her subject. Both an outsider and an integral part of a community, the classic humorist tells fables of everyday life to question the ways we live together. This ‘clown’, however, is a fabulous and somewhat menacing caricature of itself — a replica dolphin scull, masked with a teardrop, a red nose, and a row of teeth so long it is hard to discern a smile or a grimace.
Antonio Ballester Moreno’s pictographic paintings are distillations of the fundamental ways in which humanity defines itself in relation to the larger world — knowledge, morality and the nature of being. Ballester Moreno’s geometric forms and palette of primary colours speak to an archaic image-memory, exploring what it actually means to be humane. Trees, mountains, moons and suns constitute a universal lexicon while echoing the building blocks of the ancient fable.
The hand-painted animation by Matt Copson introduces archetypal figures from European mythologies into a dystopian limbo. Here, a headless fox circles a maniacally self-obsessed woodpecker whose monologue details a compulsion to define the object of its love. As an allegory for the artist at work or sociopathic manoeuvring, Copson’s parable delivers an unsettling moral about how we relate to the world around us.
Notions of physical malady recur in the work of Jesse Darling. A winding crutch and a bent walking stick emerge like charmed snakes from an altar-like pedestal that floats above the ground. Part of Darling’s larger project, ‘The Ballad of Saint Jerome’, this sculpture retools the eponymous fable to examine the contemporary relationship between healer and healed.
Michael Dean’s sculptures begin in the realm of language – as a means of expressing love, anger, or grasping for understanding. In their translation from text to thing, Dean’s objects and icons become stand-ins for larger narratives. Considering what it means to create a physical extension of oneself, Dean’s concrete and rebar sculptures are human-scaled, bear traces of their making, and introduce new anthropomorphous characters into the exhibition space.
Staring into space through hollow eyes, the vacant, thinking and feeling figure by Austrian artist Heinz Frank is a residue of a body in distress. Part tree, part box, part mask and part spine, its anatomy consists of natural and artificial components that deconstruct the impressive mythical figure of the lion to an assemblage of objects — some quotidian, some bizarre.
17 – 20 October 2019
Preview: 16 October
'Christine Roland & Ruby Barber'
Hiroka Yamashita Kurfürstenstraße 156
Bauhaus: Utopia in Crisis, curated by Professor Daniel Sturgis
Camberwell Space, Camberwell College of Arts (forthcoming)
16 September – 9 November 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 at Galleria d'Arte Moderna, Milan
11 November 2019 – 5 January 2020
Phaidon Contemporary Artist Series
Text by Julia Bryan-Wilson, Jeannine Tang, and Lanka Tattersall
Beethoven – World.Citizen.Music Bundeskunsthalle, Bonn
17 December 2019 – 26 April 2020
...and other such stories
Chicago Architecture Biennial
19 September 2019 – 5 January 2020
Feminist Avant-Garde of the 1970s. Works from the VERBUND COLLECTION, Centre de Cultura Contemporània de Barcelona, Spain
19 July – 1 December 2019
Maskulinitäten Bonner Kunstverein, Kölnischer Kunstverein und Kunstverein für die Rheinlande und Westfalen, Düsseldorf
1 September – 24 November 2019
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: Melanie Isabel García
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