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
Undo Things Done
11 May – 24 November 2019, Santa Maria Ausiliatrice, Venice
Undo Things Done, a poetic inquiry into place, politics and class, intertwined with personal histories, is the artist’s first major presentation at an international biennale.
Edwards’ new body of work includes sculpture, film, prints, Welsh quilts and a live daily radio broadcast, and takes its starting point from the artist’s experience of growing up on a council estate in Cardiff in the 1980s. Edwards is interested in capturing and translating what he calls a condition of ‘not expecting much’ into a shared visual language; one that evokes a way of living familiar to a great number of people; of making do and getting by.
The works are installed across the interlocking rooms of the Santa Maria Ausiliatrice where the church, corridors and classrooms have been left largely untouched. Signs of wear and everyday use have been deliberately incorporated into the staging of the show. Edwards is drawn to these traces that reflect the passing of time: days lived according to the rituals of mass and the timetable of a school; the quiet stories.