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
24 January – 7 March 2015, Tanya Leighton, Berlin
After six years at Kurfürstenstraße 156, we are pleased to announce the gallery’s expansion into a newly renovated, 130 m space opposite the existing gallery. Inaugurating Kurfürstenstraße 24/25 is a solo exhibition by Dan Rees titled Stimulate Surprise, which spans both the new and existing galleries.
‘The defenders of pasta are shackled by its ball and chain like convicted lifers or carry its ruins in their stomachs like archaeologists.’
-Marinetti, The Futurist Cookbook
Stimulate Surprise, the artist’s fourth solo show at the gallery, develops from Rees’ 2013 exhibition Kelp at the National Museum of Wales and draws together various strands of his ongoing research into the seaweed industry. The artist’s aims lie between posing a practical solution to pertinent questions concerning global food shortages and a utopian vision, where our over-reliance on wheat and corn is replaced by a readily available resource that requires no land or fresh water to grow.
A ‘presentation deck’ commissioned by the artist displays Sid Lee’s (a New York ad agency) rebranding of Welsh seaweed as the next must-have food in the United States. The imagery of the slideshow stands in contrast to a documentary video depicting the workings of a small seaweed farm in Vietnam, a country where this type of aquaculture has yet to establish itself on the international market.
The gallery becomes a site of distribution in the work Tri Tin, which takes its title from a seaweed company in the Khánh Hòa province of Vietnam specialising in the farming of a seaweed called Green Caviar. Not currently exported to Europe, the 500 boxes of Green Caviar on display in the gallery mark its introduction into a new market.
These various points of enquiry into the feasibility of an alternative food source are mediated by a continued sense of transnational trade via large advertising billboards imported by the artist from China. The blank billboards rotate on a timer, programmed to turn in a specific wave formation at various intervals, evoking both continuity and change, along with the potential of an untapped resource.