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
24 February – 14 April 2018, Tanya Leighton, Berlin
Tanya Leighton is pleased to present an exhibition of new works by Berlin based artist Jonas Lipps. This is his first solo show at the gallery.
The subject matter of the nearly 50 drawings and paintings on view is as varied as their materiality. Associative, chimerical scenes that could have been dreamt by adolescent boys are hung alongside abstractions that seem to refer to something concrete – a flag, a certificate or an advertising template.
Institutions of authority recur, particularly schools. In one drawing a boy with a tree growing from his head crawls towards the door of a teachers’ lounge, as if this exclusionary space could hold some small liberation. In another, a teachers’ cruise ship battles a turbulent sea with a clock face floating in it. Another teacher lectures to a classroom awash in waves. The discount furniture store Poco is re-imagined as a school seeking new enrollees, and moreover as the ostensible victor in a battle of good versus evil. Snakes – perhaps the ur-architype of evil – rear their heads often in Lipps’ drawings. The Poco School proudly advertises that the snake is now dead. Come on in!
What do institutions of authority impart on those subjected to them? We all carry around wallets full of ID cards, go shopping and wait in lines, but what else is going on? Control and self-policing are tested and parodied in Lipps’ work, as are the utopic and horrific. The characters in his drawings exist in surreal landscapes dotted with aberrations and hallucinations, archaic symbolism and totally idiosyncratic metaphor. Is it possible that some of these figures are – for lack of a better word – real, while others symbolise the forces that act on them: their second thoughts, fantasies and the social norms they have internalised? These are funny, bizarre and occasionally inscrutable works that make a real commentary on the anxiety of life. Their fantastical imagery and material anachronism serve as clever bits of misdirection. Going out of their way to feel dated or nostalgic, Lipps’ drawings and paintings instead establish themselves as urgently contemporary.