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
Things to Come
4 April – 1 June 2014, Gallery of Modern Art, Glasgow
Aleksandra Domanović looks at the history and development of technology through a gender-conscious lens. Her work specifically focuses on the point at which the machine meets, interfaces and touches the human user.
In her first institutional solo exhibition in Scotland, Domanović focuses on the marginalised representation of women in popular science fiction. Using the building’s position and architectural features, Domanović has re-contextualised the gallery by installing large sculptural prints on transparent foil. Films such as Blade Runner (1982), Demon Seed (1977), Alien (1979), Prometheus (2012) and Gravity (2013) form the source material for prints of objects that interact or contribute to an important part of the female characters’ narrative. These films deviate from the conventional representation of women in cinema, where they are typically shown as mother, love interest or victim.
The material used is similar to the celluloid sheets historically used by animation houses to draw and layer cartoon animations. Domanović discovered that the mechanical filling-in of the cartoon outlines was women’s work – the actual art-working was reserved only for men. This repetitive activity echoes the labour undertaken in this building 135 years ago, when the Gallery of Modern Art was a telephone exchange staffed entirely by women, who were referred to as ‘computers’.
Aleksandra Domanović’s exhibition is a multi-referential exploration of the role of women in technology, both past, present, and in the fictive future.
Alongside the exhibition, Domanović has created a DVD library of films relating to the issues examined in the exhibition.