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
Open Tuesday – Saturday
11am – 6pm and by appointment
Sensory Spaces 7 - Aleksandra Domanović
20 June 2015 – 31 January 2016, Museum Boijmans Van Beuningen, Rotterdam
Sensory Spaces is a series of commissioned solo projects presented in the Willem van der Vorm Gallery, located in the freely accessible exhibition space in the museum’s entrance hall. Artists are invited to respond to the architectural qualities of the space, emphasising notions of transformation and surprise.
For the seventh edition Aleksandra Domanović (Novi Sad, Yugoslavia 1981) has made an installation that examines themes such as reproduction and representation and man and machine. In the Willem van der Vorm Gallery a cluster of semi-transparent foils printed with images that include skeletons with printers hangs from the ceiling. The images are computer-generated 3D models, printed as 2D renderings. In the images the perspective is reversed so that objects in the foreground appear smaller than those in the background. The various semi-transparent layers combine to create a three-dimensional image that changes constantly as one walks through the space.
In this installation Aleksandra Domanović combines different perspectives, times and spaces. Her work questions how two-dimensional images relate to reality and the role of reproduction techniques and digitisation in this relationship. The images of skeletons, a symbol of mortality, refer to a series of woodcuts on the ‘danse macabre’ theme by Hans Holbein the Younger, which in 1538 was reproduced in large numbers thanks to the new technology of book printing. The installation also examines the relationship between women and technological innovation. It includes multiple images of the ilium, the part of the pelvis that differs markedly between men and women.
Aleksandra Domanović studied design and architecture. Her artistic practice began with her involvement in the website vvork.com, which she maintained together with several other artists. The website was one of the first blogs to show works of art online in their own right rather than as documentation. From the subjective and personal to the objective and general, Domanović draws inspiration for her artworks from her personal life and from the disintegration of Yugoslavia and its consequences.