Aleksandra Domanović 30 April – 5 June 2021
Sean Edwards 18 June – 24 July
Christine Roland and Kara Hamilton
At Kurfürstenstraße 156
Autoconstrucción. Piezas Sueltas. Juego y Experiencia, curated by Ángel Calvo Ulloa
ARTIUM – Basque Museum of Contemporary Art, Vitoria, Spain
21 June – 1 November 2021
A picture stuck in the mirror
Henry Art Gallery, University of Washington, Seattle
Fall 2021 – Winter 2022
Publication: World of Art: Contemporary Painting
Suzanne Hudson, published by Thames & Hudson (forthcoming)
Moravian Gallery, Brno
Olomouc Triennale 2021: Universum, curated by Gina Renotiére and Barbora Kundračíková
Olomouc, Czech Republic
24 June 2021 – 2 January 2022
Diversity United. Contemporary European Art
Flughafen Tempelhof, Berlin | Tretyakov Gallery, Moscow | Palais de Tokyo, Paris
Spring – Fall 2021
Tanya Leighton, Berlin
1 May – 5 June 2021
British Art Show Exhibition Tour
Aberdeen Art Gallery; Wolverhampton Art Gallery; Manchester Art Gallery; The Gallery, Plymouth College of Art
10 July 2021 – 23 December 2022
Tanya Leighton, Berlin
18 June – 24 July 2021
One Escape at a Time
11th Seoul Mediacity Biennale, Seoul
8 September – 21 November 2021
Yesterday we said tomorrow
Prospect 5 Triennial, New Orleans
23 October 2021 – 23 January 2022
Akimbo Exhibition Tour
CRAC Occitanie in Sète, Spring 2021
Museion, Bolzano, Italy, Summer 2021
Masculinities: Liberation through Photography
Barbican Centre, London; Luma Foundation, Arles, and Martin Gropius Bau, Berlin
Tanya Leighton, 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: Vanessa Boni
Associate Director: Simon Gowing
Gallery Manager: Melanie Isabel García
Registrar: Henry Babbage
Finance Manager: Stefan Schuster
Gallery Assistant: Roberta Cotterli
Tanya Leighton GmbH
Kurfürstenstraße 156 & 24/25
Open Tuesday – Saturday
11am – 6pm and by appointment
8 September – 25 November 2012, Tanya Leighton, Berlin
From the Inside Out:
Don't worry little man.
My lingua franca.
Here is a project: Put on your coat and come inside. Close the door.
The other one never waits.
I'll tell you:
Distracted as you were, attention deficit and all, you focused on the visible parts.
The notebook is filled with nonsense you doodled in front of the rotary phone, head tilted, eyes raised to the ceiling.
The Third Empty Desk.
It was something about not listening, I don't remember, I wasn't paying attention.
A very thin sculpture with a painted event on one side.
The ill fitting suit for burdensome social obligations.
The fish wrapped in last week’s news.
A Misplaced Name.
The door that opens inwards.
The Joke that's Hard to Understand.
The oratorio left to rest.
An Insider's Insider.
Don't interrupt my solitude but for heaven's sakes, please don't leave me lonely.
Tanya Leighton is pleased to present Dear Dilettante, the first European solo exhibition by Russian-born, Los Angeles-based artist, Sanya Kantarovsky.
Kantarovsky's work entails a binary investment. Firstly, in the near religious, painterly affect of representation painting - the gesture aimed at efficiently conveying a specific referent - boredom, loneliness, and other basic problems of the human condition. Then, in the dissolution and instability of said affect - here are images that slowly fall apart, giving way to the reality of material and the thin object unsuccessfully posing as a window, acutely aware of it's own limits and belatedness. Combining eclectic and often dissonant art historical tropes and motifs, Kantarovsky gentrifies disparate perspectives on creative production, refusing to privilege the programmatic over the spiritual and vice versa.
Echoing the ambivalence of the clichéd antihero dilettante, from Dostoyevsky's Raskolnikov to Huysman's Des Esseintes, Kantarovsky's work ultimately points back to the anxiety at the site of it's own production - the studio, the desk, the stage. This exhibition is comprised of a modest constellation of paintings and sculptures assembled in the form of a fictive note to the figure of the Dilettante, pointing to the fear of anemia within making or the lack of expertise within looking. The pictoral spaces of the paintings involve an ongoing visual vocabulary comprised of both generic symbols that manage to retain an uncanny singularity: the blank page - an offer of potential or a testament of failure; animated hands and feet - discreet conduits for affect; lamps - tools aimed at illuminating a space of production that seem to emit little actual light; and the mask, serving as a tether to the performative, or an allegory for the painted façade that conceals a painting's original surface.
At times the paintings act as stand-ins for the exterior (representation?) or the interior (abstraction?). This dialectic opposition is echoed in the whimsy of the described subjects - suspended in indiscernible spaces between coming and going, opening and closing. The sculptures in the exhibition further this ambiguity: In A Situation, for instance, the initial view offers a lone, thin black line, reminiscent of the quiet secular poetry of Sandback's strings, yet upon closer inspection animates into the opposite of this take - a nearly grotesque leg and shoe - a portrait of a decision to opt out of using a door to make an exit.
Perhaps the most understated work in the show - Library Windows, is a continuation of the artist's ongoing interest in memory and archive. Adopted from the pseudo Constructivist motif of steel grates protecting the library windows across from Kantarovsky's childhood Moscow apartment, two new grates are installed on the windows in the interior of the upper gallery space. In effect the room comes to serve as a portrait of another building's facade via its overlooked pedestrian décor. Here the conflation of space continues, echoed by A Misplaced Name, in which a large umbrella hints at the presence of poor weather inside the gallery. Or perhaps inside the painting, the author, or the viewer.