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
Tanya Leighton is pleased to present a curated feature of newly finished works by a selection of the gallery’s artists.
These new and recent works, across a variety of medium and scale, would have been the foundation of the gallery’s presentation at Art Basel this June. In light of the event’s cancellation, we are proud to be sharing our artists’ unique perspectives with you in our first online Viewing Room.
We hope that this new platform provides an authentic experience for you to encounter and enjoy the works of many of our artists.
To navigate the Viewing Room please use either your left and right arrow keys, or click to advance.
Ballester Moreno’s geometric forms and palette of primary colours speak to an archaic image-memory, exploring what it actually means to be humane.
Trees, mountains, moons and suns constitute a universal lexicon while echoing the building blocks of the ancient fable. Composed in highly pigmented acrylic on textured, raw jute, Ballester Moreno’s paintings engage a synthesis of sensory perception.
The artist started his Puuuuuuuff pieces in the late 1990s, covering canvases with cotton balls coated in thick, colorful paint to create textured, three-dimensional surfaces that riff on the tradition of modernist abstract painting. By infusing his works with humor and absurdity, Belott makes a space for creativity and invention, stating, ‘A well-delivered joke could save the world’.
–Jane Panetta and Rujeko Hockley
Whitney Museum of American Art
The problem is that part of me is a formalist who loves Mondrian and Agnes Martin and wants to make something so empty, and so clean and crisp, but then the other half of me is someone who would set the Mondrian on fire and is a dadaist.
For me, I call it the hermaphroditic principle, the combination of opposites. Everything is about fusion — if you could just pick two unlikely things and force them together, that is where the sparks fly.
The prints are made using an incomplete set of type. Büchler had to mend and make do, and compose the phrases from available letters. This incomplete starting position calls for the efforts of a graphic and verbal contortionist… and the prints reveal what he managed to “stumble into” (a verb of his own choosing). The fact that the prints latch on so elegantly to some iconic references of our culture does more than attest to any artist’s skill.
–Kate Christina Mayne
Art is an exercise of speculative imagination without a real, immediate consequence. This is artistic freedom – the freedom to make nothing happen.
Cesarco’s work frequently brings together two interconnected themes: the nature of influence and sustaining desire.
‘Student Work (Playing the Standards)’ speaks of a moment of transition, of a movement inwards, of needing to find one's footing, again. And in doing so, looking to the nature of influence, learning, repetition, and difference.
From Marcel Duchamp’s or Stanley Brouwn’s meters, to Andre Cadere’s round bars of wood, to Guy Mees, or the Surface/Support group, Alejandro Cesarco’s new series, 'The Long Term (A Measure of Intimacy)’, carries a long line of references.
Moreover, they refer to Cesarco's ongoing work portraying couples, their relationships, and the limits of language. These works stubbornly insist on questioning the sustainability of desire in the long term through allegorically measuring or quantifying the comforts of intimacy — its distance.
I think art is, in many ways, a form of art history, a way of furthering a dialogue with the past.
In the late 1960s, one of my jobs was at one of Mickey Ruskin’s restaurants. It was across the street from Max’s Kansas City on Park Avenue, near Donald Judd’s studio on 19th Street. Newman came in several times. I’d see him at openings too. He was always willing to engage, but I was too shy to really speak to him.
Later, I noticed that in his twenty-seven year career, on average, Newman made less than five paintings a year. The convention is that important artists are highly productive, that they can’t stop their brush from moving. And here this guy, who means so much to me, did so few works.
With abstraction, the artist can traverse the history of art on their own terms and in much less time.
–Lawrence Alloway (as told to David Diao)
Curator, 'Barnett Newman: The Stations of the Cross’
I don’t even begin with colour until I have filled up the canvas texture with paint, so it’s as smooth as possible. It has that sense of being honed, waxen, sensuous.
Aleksandra Domanović looks at current scientific research and development, namely bioengineering and the breeding of certain traits. She translates these ideas into sculptures.
Her votives are transformed depictions of the Greek Moschophoros (Calf-Bearer) of the sixth century BC.
The artist fuses the science and culture of different eras, subtly, and poetically questioning norms and beauty outside of norms.
Stedelijk Museum, Amsterdam
The play between archaic Greek subject matter and a hyper-contemporary, technologically driven way of sculpting, illustrates Domanović's unique ability to repurpose history to describe our present moment and potential future — a thread that runs throughout her practice.
Floratos is painting inside the belly of the beast. He’s built his own little paradise under the sidewalk. Literally under the sidewalk; in the basement of the old Hit Factory on 48th Street where he’s made himself a studio that extends right down under the street.
In the evening rush hour when everybody else is leaving work, he hears them clacking and tapping and thumping overhead... Pure energy coming down through the walls and the ceilings, pushing in from every side. He’s down there painting New York from the inside.
Working both within and around the established histories of painting, Jefferson has embarked on a highly ambitious and rigorous project, one that simultaneously explores and expands the limits of the medium, in turn creating a truly idiosyncratic and aestheticized form of institutional critique.
White Columns, New York
Since 2012, Oliver Laric has been collecting digital versions of sculptures from eminent institutions across Europe, including the Louvre, Paris and the Albertina, Vienna. This public repository is now housed in his threedscans.com website.
The data is made available for free and without any copyright restrictions. Anyone with a computer and an internet connection can download and repurpose these forms as they wish.
In addition to the hundreds of artists, game designers, hobbyists and videographers who have used Laric’s scans, they have notably appeared as visuals in the music video for Migos’ ‘Motorsport (ft. Nicki Minaj and Cardi B)', the credits of the Netflix series ‘Rome’, the 2015 Eurovision Song Contest and an advertisement for Starbucks.
In the process of making [my recent] work I have developed a whole new system that combines all of my longtime interests like pattern, geometry, collage, biography, and discovering new things in older painting. This allows for intuition, which gets stronger with experience. It’s new and at this point feels limitless.
McIntosh treats paintings as matter, first and foremost, or as bodies that confront other bodies, with minds of their own.
De Appel, Amsterdam
In beginning to make these works, I wanted to expand the boundaries of what was formerly unseen. The circle of light is carving out space but the edges leak. The complexity of the spotlight paintings mirrors life’s experiences which are not able to be compartmentalised. We live in folds.
–Kate Mosher Hall
The paintings are made by silkscreening. I am interested in letting the process and all of its variables take its course through the application of different mediums and grounds. The process of silkscreening is a hybrid of photography and painting. My work can use anywhere from one to 30 screenprints. All the interventions I make either intentionally or not will be present in the painting.
–Kate Mosher Hall
I began making the rubber plant paintings 8 years ago and it is a subject, with varying degrees of intensity, I keep returning to. Restricting oneself to adding slow, meticulous pictures to a culture of much higher speed images can breach a gap where formal considerations and external reference combine to produce an image of pertinent specificity and rigour.
Yamashita’s paintings toe a line between figuration and abstraction, observation and invention.
The interaction between humans and the natural world is a recurring theme, as her subjects reveal the traditions and methods through which society shapes its environment.