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
14 September – 11 November 2012, Kunstverein Freiburg, Germany
Kunstverein Freiburg is pleased to announce its autumn season with two parallel exhibitions with works by the artists Sean Edwards (1980 in Cardiff, Wales, UK) and John Divola (1949 in Los Angeles, US). The ground floor entrance hall shows an extensive site-specific installation by Sean Edwards. It is the first institutional exhibition outside of the UK for the artist who lives in Abergavenny, Wales. On the surrounding first-floor gallery, a selection from two series of photographs by John Divola is being shown. These works of the established American photographer are being displayed in Germany for the first time.
The installations of Sean Edwards often have a sculptural appearance of craftsmanship in their material emphasis, creating a dynamic coexistence of neutral spaces and art spaces, of immediate awareness and fleeting references of personal memory as well as pop-cultural images. Invariably assuming the experience of a work of art in the present, his work emphasizes their encompassment of other times and places. For Freiburg, the artist has created ‘Resting Through’, a chest-high shelf structure consisting of regular elements, which is open on both sides. Built from untreated plywood with a rough surface, it spans through the whole 32 metres long axis of the ground floor exhibition space as a closing barrier as well as a functional element.
Typical for Edwards is his use of the sculptural intervention as a medium to direct the viewer in the space, as if leading through an unfolding narration. The shelf structure divides the main hall of the Kunstverein radically in two halves and forces visitors to walk alongside it: from one half of the space over the stairs to the first floor and back down the stairs on the other side and into the other half of the whole hall. It also serves as a rack for small, handworked sculptural objects, throwaway found objects and cuttings from books and newspapers. The shelf structure appears as a gigantic sill or grandiose plinth for the objects placed upon it, claiming to be a work in its own right. The separation of the space becomes an emblem for the ability of any object or artifact to polarize meaning and interpretation. On the one hand this is a work of art, on the other hand it is also a piece of furniture.