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
23 March – 11 June 2017, Henry Moore Institute, Leeds, UK
This spring we invite Aleksandra Domanović (b. 1981) to create new sculptures that respond to our building. An important part of our exhibition programme is our continuing series of commissions for artists researching new thinking in the field of sculpture studies.
Domanović’s work is of both the past and the future, folding the aesthetic of classical sculpture into her investigation into how developing technology relates to the societies that create it. For Domanović technology is always gendered. Her sculptures are a collision of references that reflect the circulation and reception of images in digital media.
Votives presents new sculptures made in the tradition of Greek Korai, sculptural dedications of female figures that hold offerings. Three of Domanović’s figures hold animals and fruit – taking their cue from votive statues from the Sanctuary of Hera in Samos, Greece, which are now housed in the Altes Museum in Berlin where the artist is based.
Another three sculptures reimagine the Korai in a sports context. Displayed alongside these six Votives stands a series of monolithic vertical monuments made of over 10,000 sheets of stacked A4 paper. These Paper Stacks address the reproducibility of images on the internet. Images are formed on each side of the sculptures by using the borderless function on an inkjet printer, a machine that less than a decade ago was the height of home-office technology, but now is near obsolete.
In our central gallery is the monumental votive ‘Calf Bearer’ (2017). Over four metres tall, it draws on both Domanović's recent research into molecular biology and the ancient Greek sculpture ‘Moscophoros’ – a statue of a man carrying a sacrificial calf on his shoulders. Presumed to have been built as a votive offering to the goddess Athena, it was found in fragments in the Athens Acropolis.
Votives also shows ‘Turbo Sculpture’ (2010–13), a moving image work underscoring the artist’s concern with the public life of sculpture. It interrogates the phenomenon of public sculpture in the former Yugoslavia, the artist’s country of birth, dedicated to non-national media celebrities, such as Bruce Lee, Bob Marley and Samantha Fox.