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
Draw the Line
22 June – 2 September 2013, The Power Plant, Toronto
The Power Plant is pleased to present a solo exhibition of work by French artist Jimmy Robert. Robert’s practice typically explores the corporeal potential of a range of media including photography, drawing, film, video, sculpture, and performance. In his first Canadian solo exhibition, Robert addresses questions of limits: of his body, of the media he uses, of our understanding of exhibitions, and the various disciplines his work encompasses. At the centre of Draw the Line is a commissioned performance project that takes place within this installation of new and past work at The Power Plant.
Draw the Line’s focus on performance speaks to the rising interest in performance art among art historians, curators and leading museums. Performance has been an integral medium for visual art practices, gaining momentum during the 1960s and 1970s when artists moved away from the object in favour of “happenings,” “actions” and “interventions.” Such terms reject any theatrical meaning to describe a medium that explores the gestures, marks and effects produced by the body moving and performing in space. Over the past decade, performance has achieved a new kind of institutional position, whereby major institutions are increasingly incorporating performance work in their public programming and exhibitions. During this moment of resurgence, artists and curators alike are faced with difficult questions regarding the relationship between a live performance work and its documentation or exhibition. Draw the Line addresses these queries: following Robert’s performance, text and sculptural remnants will remain in the gallery for the duration of the exhibition to evoke the movement seen in his live work.
Robert’s performance coupled with its remaining ephemera will be accompanied by his sculptural installation Reprise (2010). The work references Canadian artist Jeff Wall’s photograph A Sudden Gust of Wind (after Hokusai), 1993, which captures four figures physically responding to a strong wind. The composition in Wall’s work is a recreation of Japanese painter and printmaker Katsushika Hokusai’s (1760 – 1849) woodcut Ejiri in Suruga Province (Sunshū Ejiri), 1830 – 33. The theatricality in the movement of the figures in both works acts as a point of departure for Robert’s Reprise. Here, he captures in large-scale photographs the movements of dancer Shiho Ishihara with gestures akin to those seen in Hokusai’s and Wall’s pieces. Depicting movement in both the dancer’s body as well as in the installation of the photographs, Robert demonstrates the ability for objects to become performative. Together with his live work, Reprise offers new possibilities for movement and performativity to exist outside a live event.
Movement is evoked in every sense of Draw the Line and in the exhibition framework. Above all else, Draw the Line is an attempt to rethink the limitations of an exhibition, challenging viewer expectations as it unfolds and transforms over time.