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
14 March – 18 April 2015, Tanya Leighton, Berlin
Tanya Leighton is pleased to announce a solo exhibition by the American artist Wyatt Kahn, his first in Germany. Kahn’s exhibition comprises two drawings and three paintings, continuing the artist’s investigation into materiality, painterly form, along with methods of working on paper. Kahn’s paintings are assemblages of cut and shaped MDF panels, which have been covered with twice stretched fabric. The artist joins these forms, employing the gaps between panels as compositional elements in a visual space that incorporates both the painting itself and the wall on which the canvas is hung. The works on view mark a development in Kahn’s practice: his hand drawn patterned fabrics now incorporate two sets of motifs, which, when paired with the composition of each painting, create a surprising juxtaposition of objects and sounds.
All of the works in the exhibition derive their imagery from linguistic pairings, or duets – two distinct objects which both make the same sound. In the painting Sunny Side Up, a frying pan and the sun are pictured, the imagery representing both alludes to an onomatopoeic parallel: both things ‘sizzle’. The two drawings on view are paired as another duet, both evoking the sound ‘buzz’. Kahn outlines the objects and forms of his drawings using a thick waxed graphite pencil, which leaves a raised line on the surface of the paper that recalls the recessed seams of the works on canvas. Similar patterned motifs fill the spaces delineated by the artist’s marks, veiled under a thin sheet of fiber paper.
Wyatt Kahn (b. 1983, New York) lives and works in New York. He has presented solo shows at LA><ART, Los Angeles; Galerie Eva Presenhuber, Zurich; and T293, Rome. He has been featured in group exhibitions internationally, including Rachel Uffner Gallery, New York; Bortolami Gallery, New York; Dallas Museum of Art; and as part of ReMap 4 in Athens, among others. He received his BFA from the School of the Art Institute in Chicago in 2006 and his MFA from Hunter College in New York in 2012. In 2015, he will have a solo show at the Contemporary Art Museum, Saint Louis. His solo show at Tanya Leighton is organized in collaboration with Adrian Rosenfeld, Los Angeles.