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
8 June – 14 August 2011, Skulpturhalle Basel, Switzerland
For Kopienkritik, Oliver Laric's solo show at Skulpturhalle Basel, Laric presented an exhibition of objects and video, contextualized by Skulpturhalle Basel's extensive collection of plaster casts of Greek and Roman sculpture.
Kopienkritik is a term popularized by German scholars, implying a view of Roman sculpture as a stand-in for something else, a mere reconstruction of lost Greek works. This marginalization of Roman innovation ignores qualities inherent in the works such as allusion, parody and emulation, also often falsely ascribing Roman sculptures to non-existent Greek precursors.
Permitted access to the museum's 124 year-old collection of original plaster molds, Laric has produced a series of recasts in resin shown alongside the museum's permanent display, onto and around which video will also be projected.
Laric finds equivalence with Kopienkritik and current debates about appropriation in cultural production. The exhibition, and his wider practice, emphasize the potential of the copy and brings current discussions about image production in to play with the extensive historical collection at Skulpturhalle.