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
James Krone, Alexi Kukuljevic, Amy Sillman
The Collapse of the Mind's Ordering System Leads to Some Rather Wanton Developments
15 March – 16 April 2016, Tanya Leighton, Berlin
To declare nothing matters, existence is absurd, life is a tawdry joke has an old-fashioned ring to it. Another Manhattan please. The untimeliness of such propositions is out of joint with the fashionable cynicism of a time that prefers its nihilism neatly packaged, its concepts ready-to-go and its formalism machine hewn. Nevertheless there is always room for the frayed-edge, a word gently slurred and an artistic countenance that assumes the meaninglessness of all endeavors with the stone-faced mastery of a Buster Keaton.
These works, like all works after all, declare their preferences and they prefer their form dissolute. All the better to align the imagination with those rare moments when the mind’s craving for order is given a reprieve. Form, yes, but not formality. That is to say, form that remains imperiled, irresolute, negative. Negativism need not be bound to a willful negation (the perennial thumb in the eye). There are other ways of declaring one's suspicion concerning the mind’s signifying habits. To dissipate, to impoverish: actions that deform a given. To work with one’s mud, the psychic sink of the idea. Ideas need not simply prop the work up as the palm of the hand supports the thinking man’s chin. The idea can enter into the work’s tissue, its meat and we’ve worked hard to think with the full weight of the eye-ball — that bit of flesh that punctuates consciousness’ relation to the visual field.
Indifferent to the directives of the index finger and the imperium it prescribes, these works evidence the collapse of cognition without suffering therefrom. Eloquently awkward, the works seem to say: signification is not the last word on the visible.