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
John Baldessari, Alejandro Cesarco, Louise Lawler, Haim Steinbach, Nicola Tyson
20 October – 21 November 2015, Tanya Leighton, Berlin
Play is both verb and noun. As a verb, it has no rules (although games do), but as a noun it is often scripted. As viewers (and producers), we are usually caught somewhere in the middle.
Playing calls to mind the world of children and make believe; it can be frightening and exhilarating because it almost always leads to unforeseeable places, because of the way it may surprise. The exhibition equates playing with creative misreading, misappropriating, allegorizing; and games (with their rules, expectations, and limitations) with style, tradition, and the foreseeable.
In any cultural field it seems impossible to be original except on the basis of tradition. The interplay between originality and the acceptance of tradition as the basis of inventiveness may be interpreted as an example of what the English child psychoanalyst D. W. Winnicott characterizes as the interplay between separateness and union. The ‘transitional object’, or, ‘the paradox that I accept and do not attempt to resolve’, as he claims. Winnicott locates creative playing and cultural experience in the potential space between the individual and their environment. Winnicott’s idea of play is foregrounded in the relationship of trust and reliability that may develop between baby and mother. Who then serves as the mother in our creative (artistic) playing? Could this perhaps be the role of tradition?
Play stages correspondences, affinities and genealogies - ideas which manifest tradition. It elaborates on the ethics of admiration, on repeating as a means of varying. It problematizes the artistry of referencing and reminds us of the potentials of allegory as method.