25 July – 29 August 2020
10 – 12 September 2020
Gallery Weekend Berlin
Christine Roland and Kara Hamilton
At Kurfürstenstraße 156
Site-specific installation at Henry Art Gallery
University of Washington, Seattle
11 June 2020 – 7 February 2021
Suzanne Hudson, World of Art: Contemporary Painting, Thames & Hudson
Olomouc Triennale 2020: The Universal, curated by Gina Renotière
Diversity United. Contemporary European Art
Tretyakov Gallery, Moscow
11 November 2020 – 21 February 2021
Undo Things Done Exhibition Tour
Senedd, National Assembly for Wales
26 July – 9 September 2020
Masculinities: Liberation through Photography
Barbican Centre, London; Luma Foundation, Arles, and Martin Gropius Bau, Berlin
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
Gallery Manager: Melanie Isabel García
Finance Manager: Stefan Schuster
Tanya Leighton GmbH
Kurfürstenstraße 156 & 24/25
Open Tuesday – Saturday
11am – 6pm and by appointment
Another Condition of Sculpture
15 February – 11 May 2014, Leeds Art Gallery, UK
Bruce McLean has been investigating the condition of sculpture since the late 1960s. In a range of media he has creatively interrogated its diverse possibilities of meaning and its presentations, its private and public settings and its critical contexts. This exhibition at Leeds Art Gallery brings together paintings, drawings, ceramics, films and photographs from 1960s to the present day highlighting his continuously lively, witty and profound inquiry. Of particular interest is a new body of paintings, realised by McLean now in his 70th year, in which he carries forward his frank and open dialogue with sculptures and sculptors of the past.
The exhibition displays Henry Moore’s Falling Warrior (1956-7) alongside McLean’s early work Fallen Warrior (1969) a photographic documentation of a performance, when he used his own body to parody the poses of Henry Moore’s celebrated work. McLean has done more than perhaps any other British artist since the 1960s to keep sculpture both conceptually mobile and relevant. At a time when many sculptors were eliminating the plinth McLean brought it back, emphasising its incitement to stagecraft and theatricality.
Another condition of sculpture presents original documentation of Mclean’s performance works and sculpture from late 1960s and 1970s including rarely seen photographs where Mclean projects onto, covers up and props his body to interrogate the notion of using his whole body as a sculptural vehicle of expression. Included in the exhibition is a selection of new paintings of things that look like sculpture. These are sometimes based on photographs of sculpture, overlapping paintings of sculpture, installed in the gallery to question the relationship between painting and sculpture and may be regarded as paintings, but McLean is a sculptor and he considers his whole body of work from performance, photography, film, ceramics to be sculpture. Together they all contribute to introduce McLean to a new audience and explore his work over the last 50 years through a prism of new and recent work.