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
2 December 2017 – 28 January 2018, Schinkel Pavillon, Berlin
Panoramafreiheit, opening at Schinkel Pavillon on December 1st, is the first institutional solo exhibition of the Austrian-born artist Oliver Laric in Berlin. In his work Laric effortlessly converts qualities of the digital such as reproduction, limitless variability and instant distribution into the physical realm. Systematically, he investigates the topic of representation and its various forms of appearance: repetition, forgery, appropriation and copying. In such reconnections he naturally dissolves the antagonism between digital and analogue art.
The starting point for his exhibition at Schinkel Pavillon was Beethoven, based on the original sculpture by Max Klinger from 1902. Composed of seventeen separate 3-D printed components, it is the largest and most complex object Laric has created to date. Outstanding from a technological perspective, the original 3D-model does not originate from a 3D-scan, but has been manually created using photographic images. This approach marks a new chapter in Laric’s body of work. His effort to make visual art, which is normally locked in the museum space, accessible to an increasingly digital society regardless of social, geographical or cultural boundaries naturally represents challenges for public institutions. In this regard such organizations are confronted with the complex legal ambiguities of copyright and rights of use. The exhibition title Panoramafreiheit describes the legal right to photograph and publish everything present in public space. Besides the three physical sculptures Beethoven, Hermanubis and Pan with Bears in the octagon of Schinkel Pavillon their data is available and free for download on the website threedscans.com representing an integral part of the exhibition. With this gesture Laric raises questions about the concepts of authorship and originality and the relationship between technology and creativity. Panoramafreiheit enters a highly important debate, which will surely remain considerably relevant in the future.
Oliver Laric (*1981) lives and works in Berlin. He studied at the Universität für Angewandte Kunst in Vienna. Amongst others his work has been shown in solo exhibitions at the Secession, Wien, 2016; Museum of Contemporary Art, Cleveland, 2016; Center for Contemporary Art, Tel Aviv, 2015; Austrian Cultural Forum, London, 2015; Hirshhorn Museum and Sculpture Garden, Washington, 2014; MIT List Visual Arts Center, Cambridge, 2013.
Curated by Marie-Eve Lafontaine.