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
1–29 August 2020
Open Wednesday – Saturday
11am – 6pm and by appointment
14 November 2019 – 11 January 2020, White Columns, New York
White Columns is pleased to announce ‘Petit Palais’ the debut solo exhibition by the New York-based artist Esteban Jefferson.
Jefferson’s exhibition, presented as a mise-en-scene staged on a faux marble floor, comprises four recent paintings and a two-channel video work. The exhibition centers around Jefferson’s ongoing consideration of the Beaux Arts-style rotunda of the Petit Palais museum in Paris.
Working from his own photographic sources and video footage – shot during repeated visits to the museum - Jefferson has created a complex body of work centered around issues of race, identity and the legacies of colonialism, whilst simultaneously interrogating the methodologies of display and the institutional narratives within the museum itself.
Jefferson’s paintings describe the liminal space of the museum’s lobby with all of its institutional ‘clutter’: video screens, computer terminals, reception desks, public signage, and visitor stanchions. His paintings focus upon and privilege the serendipitous visual ‘encounters’ between the museum’s employees and visitors and two sculptural busts of African subjects that are on permanent display at the margins of the rotunda. (The museum’s wall labels for the busts identify neither their maker nor their date of creation, suggesting only a generic title ‘Buste d’Africaine’ and that they are possibly from the late 19th Century.)
Formally Jefferson’s paintings oscillate between areas of provisional mark-making and areas of intense, almost hyper-realistic focus. The process of their making remains fully evident. This aesthetic ‘push-pull’, a sense of being simultaneously in- and out-of-focus is echoed and amplified in the hand-held, ambient documentary video footage Jefferson presents alongside the paintings. About ‘Petit Palais’ Jefferson has stated that one of his intentions is:
“ … to open up a dialogue with the museum, to rethink the way the busts are presented, moving them into a more central space, with updated and more fully-researched labels … As it is now, the busts occupy the position they always have: kind of art, kind of decor, valuable but not treated as having the same value as everything else in the museum. The irony to me is that the busts are, in my opinion, the most interesting works on display in the Petit Palais.”
Working both within and around the established histories of painting Jefferson has embarked on a highly ambitious and rigorous project, one that simultaneously explores and expands the limits of the medium, in turn creating a truly idiosyncratic and aestheticised form of institutional critique.