25 July – 29 August 2020, Tanya Leighton, Berlin
Preview: Saturday 25 July, 12–7 pm
‘In the meantime, water had begun to dry up, a huge salt marshland had appeared. Last melted snow dried and froze into the first salt. The white in the horizon kept coming back again and again. The wide spreading line in the horizon that separates ground from the sky is the last hope of our senses. After walking a few kilometres in the salted barren land, the midday sky began to reflect on the ground and ground reflected it back to the sky again. This exchange went on again and again until the line in the horizon disappeared.
One falls unconscious, only to be rescued in the Rann by villagers who live nearby or border security forces who were patrolling the border area. When they asked the unconscious person: Where is he coming from and where is he going? He uttered: “He is coming from point ‘A’ going to point ‘B’. Back in the village there are rumours about a terrorist in the Raan, who can say anything like a mad person”.’
‘Crust’, Goutam Ghosh’s first exhibition at Tanya Leighton, brings together a body of work that was inspired by the artist’s recent trips to the salt marshes of the Rann of Kutch, in India. In his paintings, sculptures and films, Ghosh synthesises ways in which humanity understands the world — through geology, myth and systems of measurement. His poetic approach does not seek answers, so much as provide a space for further reflection.
11 – 13 September 2020
Gallery Weekend Berlin
Christine Roland and Kara Hamilton
At Kurfürstenstraße 156
Preview: Friday 30 October 2020
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
8 September – 25 November 2012, Tanya Leighton, Berlin
From the Inside Out:
Don't worry little man.
My lingua franca.
Here is a project: Put on your coat and come inside. Close the door.
The other one never waits.
I'll tell you:
Distracted as you were, attention deficit and all, you focused on the visible parts.
The notebook is filled with nonsense you doodled in front of the rotary phone, head tilted, eyes raised to the ceiling.
The Third Empty Desk.
It was something about not listening, I don't remember, I wasn't paying attention.
A very thin sculpture with a painted event on one side.
The ill fitting suit for burdensome social obligations.
The fish wrapped in last week’s news.
A Misplaced Name.
The door that opens inwards.
The Joke that's Hard to Understand.
The oratorio left to rest.
An Insider's Insider.
Don't interrupt my solitude but for heaven's sakes, please don't leave me lonely.
Tanya Leighton is pleased to present Dear Dilettante, the first European solo exhibition by Russian-born, Los Angeles-based artist, Sanya Kantarovsky.
Kantarovsky's work entails a binary investment. Firstly, in the near religious, painterly affect of representation painting - the gesture aimed at efficiently conveying a specific referent - boredom, loneliness, and other basic problems of the human condition. Then, in the dissolution and instability of said affect - here are images that slowly fall apart, giving way to the reality of material and the thin object unsuccessfully posing as a window, acutely aware of it's own limits and belatedness. Combining eclectic and often dissonant art historical tropes and motifs, Kantarovsky gentrifies disparate perspectives on creative production, refusing to privilege the programmatic over the spiritual and vice versa.
Echoing the ambivalence of the clichéd antihero dilettante, from Dostoyevsky's Raskolnikov to Huysman's Des Esseintes, Kantarovsky's work ultimately points back to the anxiety at the site of it's own production - the studio, the desk, the stage. This exhibition is comprised of a modest constellation of paintings and sculptures assembled in the form of a fictive note to the figure of the Dilettante, pointing to the fear of anemia within making or the lack of expertise within looking. The pictoral spaces of the paintings involve an ongoing visual vocabulary comprised of both generic symbols that manage to retain an uncanny singularity: the blank page - an offer of potential or a testament of failure; animated hands and feet - discreet conduits for affect; lamps - tools aimed at illuminating a space of production that seem to emit little actual light; and the mask, serving as a tether to the performative, or an allegory for the painted façade that conceals a painting's original surface.
At times the paintings act as stand-ins for the exterior (representation?) or the interior (abstraction?). This dialectic opposition is echoed in the whimsy of the described subjects - suspended in indiscernible spaces between coming and going, opening and closing. The sculptures in the exhibition further this ambiguity: In A Situation, for instance, the initial view offers a lone, thin black line, reminiscent of the quiet secular poetry of Sandback's strings, yet upon closer inspection animates into the opposite of this take - a nearly grotesque leg and shoe - a portrait of a decision to opt out of using a door to make an exit.
Perhaps the most understated work in the show - Library Windows, is a continuation of the artist's ongoing interest in memory and archive. Adopted from the pseudo Constructivist motif of steel grates protecting the library windows across from Kantarovsky's childhood Moscow apartment, two new grates are installed on the windows in the interior of the upper gallery space. In effect the room comes to serve as a portrait of another building's facade via its overlooked pedestrian décor. Here the conflation of space continues, echoed by A Misplaced Name, in which a large umbrella hints at the presence of poor weather inside the gallery. Or perhaps inside the painting, the author, or the viewer.