Simone Kennedy Doig
‘The Visitor’
8 September – 21 October 2023
Kurfürstenstraße 24/25 & 156, Berlin

Sky Hopinka
‘Under the Moon, Beneath the Flowers’
9 September – 14 October 2023
4654 W Washington Blvd, LA

Tanya Leighton

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Tanya Leighton, Berlin

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Sara Issakharian
4654 W Washington Blvd, LA
21 October – 11 November 2023

Alejandro Cesarco
Kurfürstenstraße 24/25, Berlin
4 November – 16 December 2023

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Antonio Ballester Moreno

Exotermia. Semiótica de la ubicación de la colección MUSAC
Museo de Arte Contemporáneo de Castilla y León, Spain

17 June 2023 – 7 January 2024

Math Bass

Roses are Red
Tanya Bonakdar Gallery, New York

6 September – 21 October 2023

Next Door
Yuz Museum, Shanghai

27 April – 7 October 2023

Publication: World of Art: Contemporary Painting
Suzanne Hudson, published by Thames & Hudson

Pavel Büchler

Signs of Life
Moravian Gallery, Brno

21 September 2023 – 31 March 2024

The Weight of Worlds
Henry Moore Institute, Leeds

7 July – 26 November 2023

Alejandro Cesarco

Solo exhibition
Tanya Leighton, Berlin

4 November – 16 December 2023

Other Recent Examples
Lumiar Cité, Lisbon

14 October 2023 – 14 January 2024

I see no difference between a handshake and a poem
Mendes Wood DM, Paris

14 October – 14 December 2023

Other Recent Examples
ARTIUM, Vitoria-Gasteiz

24 March – 25 September 2023

David Diao

Publication: David Diao: Painting and Document
Stéphane Mroczkowski and Alexandra Pignol, published by mare et martin

Aleksandra Domanović

Elmgreen & Dragset: READ
Kunsthalle Praha, Prague

16 November 2023 – 22 April 2024

A leap into the Void
GAMeC – Galleria d’Arte Moderna e Contemporanea, Bergamo

2 February – 28 May 2023

Sean Edwards

FOR WHAT WE HAVE
Cardonald, Hillhead, and Ibrox Libraries, UK

1 July – 30 September 2023

anywhere in the universe
The Common Guild, Glasgow

28 January – 30 September 2023

Gerasimos Floratos

X-ing
Mitchell-Innes & Nash, New York

7 September – 21 October 2023

Next Door
Yuz Museum, Shanghai

27 April – 7 October 2023

Kate Mosher Hall

The Reminder
Audain Gallery, Simon Fraser University, Vancouver

9 June – 19 August 2023

Sharon Hayes

Screening: Ricerche: Two
Contemporanea International Film Festival, Turin

13 – 17 October 2023

It’s Human Nature?
Kunstverein Harburger Bahnhof, Hamburg

2 September – 19 November 2023

Comizi d’Amore
Georg Kargl, Vienna

8 September – 14 October 2023

(Wahl-) Familie, Die, Wir, Sind
Kunstmuseum Ravensburg

14 July – 5 November 2023

Come Out, Come Out
Art on the Underground, Transport for London
April 2023 – ongoing

Sky Hopinka

The land describes itself
Pulitzer Arts Foundation, St. Louis, Missouri

8 March – 4 August 2024

Solo exhibition
San Francisco Museum of Modern Art, California
Early 2024

Screening and Q&A with Pablo José Ramírez
Tanya Leighton, Los Angeles
Friday 22 September 2023, 7:30pm

Under the Moon, Beneath the Flowers
Tanya Leighton, Los Angeles

9 September – 14 October 2023

Award: 2023 Baloise Art Prize

Sara Issakharian

The Jewish Museum, New York

17 May – 15 September 2024

Solo exhibition
Tanya Leighton, Los Angeles
Fall 2023

Elsewheres
UTA Artist Space, Los Angeles

6 October – 11 November 2023

Esteban Jefferson

May 25th, 2020
Goldsmiths Centre for Contemporary Art, London

7 October 2023 – 14 January 2024

Matthew Krishanu

Solo exhibition
Tanya Leighton, Los Angeles
Autumn 2024

Solo exhibition
Camden Art Centre

12 April – 23 June 2024

Beyond the Page: South Asian Miniature Painting and Britain, 1600 to Now
MK Gallery, Milton Keynes, United Kingdom

7 October 2023 – 28 January 2024

Life Is More Important Than Art
Whitechapel Gallery, London

14 June – 17 September 2023

Oliver Laric

All Crescendo, No Reward
Zabludowicz Collection, London

28 September 2023 – 4 February 2024

Digital Dada
Kunstverein Wolfsburg Germany

26 August – 5 November 2023

Mémoire vive
Musée de la Romanité, Nîmes

21 April – 31 December 2023

Oliver Osborne

Solo exhibition (curated by Alberto Salvadori)
Fondazione ICA Milano
2025

Dan Rees

Publication: World of Art: Contemporary Painting
Suzanne Hudson, published by Thames & Hudson

Jimmy Robert

Publication: The Man Who Envied Women
Kirsty Bell, Elisabeth Lebovici, Bart van der Heide, Nana Adusei-Poku et al., published by Bierke
January 2024

Asymmetrical Grammar
Moderna Museet, Malmö
1 April–3 September 2023

Elif Saydam

Solo exhibition
Audain Gallery, Simon Fraser University, Vancouver

17 October – 14 December 2024

Solo exhibition
Kunsthal Thy, Denmark
2024

Eviction Notice
Oakville Galleries, Gairloch Gardens, Toronto

1 October – 30 December 2023

Die Wissen
TAXISPALAIS Kunsthalle Tirol, Innsbruck

8 July – 8 October 2023

Publication: Elif Saydam: TWO CENTS
Edited by Annette Hans and Elif Saydam, published by Mousse

John Smith

Small World
13th Taipei Biennial, Taipei City

18 November 2023 – 24 March 2024

Atlas of Modernity. Exercises
Muzeum Sztuki, Łódź
1 October 2021 – Ongoing

Studio for Propositional Cinema

Publication: Myths and Manifestos
Published by Kunstverein München and Verlag der Buchhandlung Walther und Franz König

Marianne Wex

Serial Tendencies
SETAREH, Düsseldorf

1 September – 15 October 2023

The Lives of Documents—Photography as Project
Canadian Centre for Architecture, Montréal

3 May 2023 – 3 March 2024

Publication: Masculinities: Liberation through Photography
Edited by Alona Pardo, published by Prestel Publications

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Bill Lynch

7 July – 15 August 2015, Tanya Leighton, Berlin

Installation view

Bill Lynch

7 July – 15 August 2015, Tanya Leighton, Berlin

Installation view

Bill Lynch

7 July – 15 August 2015, Tanya Leighton, Berlin

Installation view

Bill Lynch

7 July – 15 August 2015, Tanya Leighton, Berlin

Installation view

Bill Lynch

7 July – 15 August 2015, Tanya Leighton, Berlin

Installation view

Bill Lynch

7 July – 15 August 2015, Tanya Leighton, Berlin

Installation view

Bill Lynch

7 July – 15 August 2015, Tanya Leighton, Berlin

Installation view

Bill Lynch

7 July – 15 August 2015, Tanya Leighton, Berlin

Installation view

Bill Lynch

7 July – 15 August 2015, Tanya Leighton, Berlin

Installation view

Bill Lynch, Untitled

Conté on paper, 20.3×10.2 cm, 8×4 in, Unique

Bill Lynch, Untitled

Conté on paper, 30.5×22.9 cm, 12×9 in, Unique

Bill Lynch, Untitled

Conté on paper, 27.9×34.3 cm, 11×13½ in, Unique

Bill Lynch, Untitled

Conté on paper, 30.5×22.9 cm, 12×9 in, Unique

Bill Lynch, Untitled

Conté on paper, 43.2×35.6 cm, 17×14 in, Unique

Bill Lynch, Untitled

Conté on paper, 43.2×35.6 cm, 17×14 in, Unique

Bill Lynch, Untitled

Conté on paper, 30.5×22.9 cm, 12×9 in, Unique

Bill Lynch, Untitled

Conté on paper, 35.6×27.9 cm, 14×11 in, Unique

Bill Lynch, Untitled (Jesus Is Not Here (two plates))

Oil on wood, 59.1×57.8×1.3 cm, 24¼×22¾×½ in, Unique

Bill Lynch, Untitled (Landscape with Red Branches and Sun on Top, Red Tree on Right)

Oil on wood, 102.9×76.2×0.6 cm, 40½×30×¼ in, Unique

Bill Lynch, Untitled (Branches with Purple/Blue Leaves in Lower Left)

Oil on wood, 121.9×76.2×0.6 cm, 48×30×¼ in, Unique

Bill Lynch, Untitled (Still Life with Onions and Pomegranate)

Oil on wood, 53×83.8×1.3 cm, 20⅞×33×½ in, Unique

Bill Lynch, Untitled (Raven, after Kyosai)

Oil on wood, 50.8×38.1×2.5 cm, 20×15×1 in, Unique

Bill Lynch, Untitled

Conté on paper, 35.6×27.9 cm, 14×11 in, Unique

Press release

Bill Lynch

7 July – 15 August 2015, Tanya Leighton, Berlin

“Genius lands where genius will, and I’m pretty sure some alighted on Bill Lynch.”
— Roberta Smith, The New York Times, October 2014

Tanya Leighton is proud to present an exhibition of paintings and drawings by Bill Lynch (1960-2013). The exhibition has been curated by Matthew Higgs and developed in collaboration with White Columns, New York.

The exhibition follows two recent, and widely celebrated presentations of Lynch’s work at White Columns (September 2014) and London’s The Approach (January 2015.) The White Columns and Approach exhibitions were selected by Lynch’s friend and fellow painter Verne Dawson. The New York and London exhibitions were the first formal exhibitions of Lynch’s work which were not widely known or exhibited during his lifetime.

Writing on the occasion of the White Columns’ exhibition Dawson said:

“Bill Lynch and I met while students at Cooper Union at the end of the 1970s. Organizing the show at White Columns in New York is surely a most bittersweet experience. It should have happened thirty years ago, or twenty, or ten, or five. But it didn’t. Bill died in 2013 aged 53. He understood touch, understood paint, and understood that these are tools to access the ancient and the present, the living and the dead. His affliction, schizophrenia, eventually made our world difficult for him to be part of.”

Lynch observed the everyday world around him, and in particular the natural world, with an extraordinary degree of empathy. The exhibition at Tanya Leighton will include a group of Lynch’s drawings of frogs and birds, observed from nature, in addition to a group of landscape and still-life paintings made on found wooden supports that Lynch would scavenge from the streets of lower Manhattan. For the most part Lynch’s works remain undated although he worked consistently for more than three decades starting in the early the early 1980s.

Writing about Lynch’s work Michael Wilde has suggested:

“In these pictures everything is alive and communicating wildly. Lynch’s connection to subjects and landscapes, both in life and painting, was empathic: a flower or tree branch sings just as strongly as any bird; likewise a pre-Columbian vessel in spiritual communion with a Chinese philosopher’s stone - and he listened acutely, transcribing their conversation so you could hear it too. Their secrets opened up to him. Everywhere is meaning. Surrounded by his work, you can’t help but be struck by this vibrant language; his sincere belief, his love.”

Bill Lynch (1960-2013) was born in New Mexico and grew up in New Jersey, USA. He studied art in the late 1970s at Cooper Union, New York. Lynch lived in New York, California and North Carolina. He suffered from schizophrenia for many years but died of cancer at the age of 53. His exhibitions at White Columns and The Approach were widely covered including reviews in Artforum, The New Yorker, and The New York Times.

We are grateful to Gerry Lynch and Bill Lynch Snr. and to Bill Lynch’s family and friends for their enthusiasm and support for this exhibition, and we are also indebted to Verne Dawson for bringing Bill Lynch’s work to wider attention.

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