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
„Weibliche" und „männliche" Körpersprache als Folge patriarchalischer Machtverhältnisse
6 July – 9 September 2012, Badischer Kunstverein, Karlsruhe
Co-curated by Mike Sperlinger, London.
During the years 1972 to 1977 Marianne Wex photographed people and their body language along the streets of Hamburg and subsequently classified her photos into different categories. She juxtaposed women and men according to the specific positioning of arms and legs, feet, knees, elbows, hands, shoulders, and heads. She was interested in the degree to which gender-specific conditioning and hierarchy is reflected through everyday poses and gestures. In order to expand her research, Wex supplemented the approximately 5,000 photographs taken in public space with rephotographed pictures from mass-media sources and comparative historical representations from antiquity and the Middle Ages.
The artist transferred the copious results of this research onto panels. She assembled the images and explanatory texts on each panel as collages: the upper row shows men posing as a mirror of patriarchal power structures, with the women situated below and occasionally a few exceptions to the stereotypes. Tying into this installative form, Wex published a more extensive book titled Let’s Take Back Our Space: Female and Male Body Language as a Result of Patriarchal Structures (1979). The panels and the book open up a gamut of photographic source material, ranging from Wex’s street photographs and photojournalistic shots to advertisements, art-historical reproductions, snapshots from family albums, to even include pornographic images, photographs of celebrities, and stills from television and films.
Marianne Wex’s photo project is highly conceptual. It elucidates a specific approach to the medium of photography and to the appropriation of found image material. At the same time, her work is localized within the context of the feminist movement of the nineteen-seventies, with the photo panels having been shown for the first time in 1977 as part of the exhibition Women Artists International 1877–1977 at NGBK in Berlin. In the late seventies and early eighties, the photo panels traveled to a number of national and international exhibitions but were eventually forgotten before some of the panels being once again exhibited in 2009 at the Focal Point Gallery in Southend-on-Sea. The exhibition at Badischer Kunstverein is now showing all existing panels, which have been prepared and compiled in collaboration with Marianne Wex for their current presentation.
The display structure has been developed in cooperation with artist Ruth Buchanan and architect Andreas Müller.
With special thanks to bildwechsel, Hamburg.